Advice

The drama classroom can be a stressful place. Between an ever-changing, dynamic curriculum and the daily demands of classroom teaching, it’s easy to find yourself in a perpetual state of anxiety. While self-care and meditation are important, when it comes to eliminating the primary source of stress in the classroom, one strategy towers over the rest: Be prepared. Understand that when I say this I am not being smug or snarky, I am being honest. I have seen my fair share of teachers who wake up every day stressed out and miserable at the thought of driving to school, because they know that they are not prepared: not prepared for class, not prepared for rehearsal, not prepared for their responsibilities as a teacher. Being unprepared is a terrible feeling, and it can eventually lead to the end of your teaching career. Here’s how: Teaching is not a profession where you can make it up as you go along. You might get away with being unprepared once or twice, but you can only improvise for so long before students call your bluff. After that, cracks will appear in your daily classroom operations: Classroom management slips, students become disrespectful and disengaged, assignments are dropped, grades get fudged. Eventually, word gets out that your classroom is in disarray, and that’s when administration gets involved. Before long, you’re placed on a required district “improvement plan,” complete with increased administrative supervision and mandatory goals. From there you have two choices: Get your act together, or get out. The good news is that you have the ability to prevent this stressful situation. Starting today, make being prepared a priority. Write out your lesson plans at least a day in advance. Assemble materials ahead of time and have them ready to distribute when students walk through the door. Anticipate potential difficulties or disruptions and develop strategies to keep them at a minimum. The more time and effort you put into preparation now, the smoother things will go when it’s time to execute those plans. At first, it may be taxing to prioritize preparation as part of your daily teaching responsibilities, but like any skill, the more you practice, the easier it will get. Preparation is the foundation of stress-free teaching. Start taking steps to decrease your stress by increasing your preparation.

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

…A time machine, you say? Interesting. If you gave me the chance to go back and talk to a younger version of myself as a teacher, what would I say? A couple of things come to mind… First and foremost, have a plan for discipline. I know you have a general idea of how classroom management is going to work, but these real-life students are not the same as the children you have imagined in your head for so long. And more challenging still, EACH CLASS IS GOING TO BE DIFFERENT! So the discipline strategies you end up using in one class will not be nearly as effective in another. Be prepared to adjust your classroom management strategies day by day, and class by class, and more than anything, practice “patient consistency.” What is patient consistency? Glad you asked. Classroom management is going to be the foundation of your classroom, and your classroom will not be able to function if that foundation is unstable. You will have to constantly teach and reteach your classroom rules, especially during the first few weeks and months of each new school year. This repetition can quickly get frustrating and exhausting. That is where patience comes in. The only way for your classroom management plan to take root is with patient consistency. It may take a while, but your students will get it eventually. However, until they do, be calm, patient, and professional, and have a plan. And second, have fun. Have fun when the bureaucratic absurdities and district mandates make you question your career choices. Have fun when the counterproductive school-wide initiatives start to cut into your core curriculum. Have fun when the normally easygoing student melts down in the middle of your favorite class. Take a breath. Center yourself. And remember: You don’t teach theatre because of the unparalleled respect and lucrative salary. (Right?!?) You teach because you love theatre and you want to share that love with your students. I know you are concerned about discipline, and curriculum, and having bus line duty, and making a good impression on your admin, and a laundry list of other pressing worries. But don’t let those worries distract you from your love of theatre, and your love of teaching! Sharing that love should be fun. So that’s it. Pretty straightforward… Oh Shoot! One last thing! Get that container out of the fridge in the teachers’ lounge before it turns fuzzy. It’s already starting to smell…

In the world of theatre, orchestrating a seamless production is a delicate balance. Directors often find themselves having to gracefully handle overcommitted students juggling demanding schedules. It’s helpful to have practical insights and strategies that strike the right balance between individual commitments and the collective rhythm of rehearsals. But how do we find the finesse required to keep the show running smoothly while supporting each performer on their individual journey? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: How do you manage overcommitted students who miss rehearsals? Engage in Open CommunicationIt is very frustrating to have this happen, and I go to great lengths to outline the time commitment (the rehearsal schedule is out before auditions happen) and make it very clear that the expectation is that the show is the priority for the duration of the process. Parents are told all of this, students are told all of this — every cast member knows it. It helps, somewhat. Luckily, I have had casts who are at least honest about requests for time off, and most of them, I decline (no, you can't miss this rehearsal to go and audition for another play). Sometimes, I accommodate actors who have previous commitments, if they are particularly focused and able to put their full attention into the rehearsals that they can attend. I have little to no patience for those who have been accommodated and then show up and use the “I wasn't here, so you (me, the director) need to fill me in.” (Anne M.) Literally had this happen last show. I pulled her aside and said, “I think you’re too busy. You need to make a decision on what things are important to you right now. No hard feelings if you quit.” She agreed and then quit the next day. I told her it was the right decision and that if theatre was still an interest, and she made time, she should definitely audition again. Her leaving left an opening for another student and she did wonderfully. Sugar coating things for kids is dangerous and not healthy. Treat high school students like the young adults they are and middle school students like the young, inexperienced children they are. They are all much more resilient than anyone gives them credit for and it gives the students some advocacy in their lives and builds their confidence. It also allows for students to step up to some responsibilities. (W.T.) Establish Clear ExpectationsOof. This is big. I had three actors show up to my first one-act rehearsal. I called them in and told them that I wanted to see more commitment or I'd have no choice but to cancel the show. I haven't had issues since. (Caitlin D.) We send a letter home to parents and students outlining the commitment at the beginning of the audition process. Then, if they are cast, they must sign a contract pretty much agreeing to the three-strike rule and that they have full availability during production week. This seems to keep both students and parents accountable. (Natalie C.) Everything is made very clear up front and an agreement is signed when auditions take place and when rehearsals start. (Cherish T.) I try to meet them in the middle. I also make them sign a contract at the beginning of the production. This contract creates a limit for missed days. (Baldwin PR) We assigned understudies to every role, and our policy is after two absences the understudy gets the role. It does two things: 1) the cast knows up front how important attendance is and 2) the understudies really learn the parts! (Philly P.) Prioritize Essential RehearsalsI require that the show take precedence two weeks before we open. I also don't cast people who have more than one consistent conflict a week. I've also started doing shorter rehearsals during the week and adding a Saturday. (Spartan Drama) Implement ConsequencesHave understudies to replace them. (Elliott H.) I recall telling one particularly overscheduled student that I would need to assign them as the understudy. They were a bit sad, but in the end thanked me for taking the pressure off. (Jeff M.) Cast swings! Miss three rehearsals and the swing gets the part! (Linda) Involve Parents or GuardiansDepends on the circumstances. If their leaving is detrimental to the performance and we have no alternative, I try to talk to them and their parents about finding solutions to alleviate their stress in order to retain them. If their leaving isn’t impactful, I wish them well on their way and congratulate them on making a hard decision in learning how to manage their own stress levels. (Vicky B.) Sit them down with a parent present. Tell them they seem overcommitted because they have missed rehearsals. Tell them it’s not fair to the rest of the cast. Then spell out that a solution to remedy this includes permission to leave the show. Ask if they want you to step out for five minutes while they talk. Then get an answer right then and there. (Susan G.) Discuss Schedules & Time ManagementI ask for conflict dates AND a list of other activities and when they participate. If this entails missing what is too much for ME to deal with, then they are cast in a smaller capacity. They usually drop anyway. This gives those hard-working although often second-level people a chance. This goes for kids and adults. (Beatriz E-M.) Parents also need to see when their child has too much on the go. Allowing them to step down from something doesn't mean they failed. Casting someone who has a lot on their plate usually results in roles they aren't happy with. You can't cast someone into a role that requires time and dedication if they aren't going to be at rehearsals due to too many other commitments. (Cherish T.) They need to ask themselves, how did they become over committed? Being an adult is about time management and honoring the commitments that you make. You don’t get to be everywhere and be in every show and do everything you want because what happens is you stop showing up for the things you really don’t want to do. (Carolyn R.) Discuss CommitmentIf their role is main, I try to talk with their parents and the student to get them to finish what they started, and if that doesn’t work, replace them. If they do stay and finish, I make a note never to cast them as a main or pivotal character again, unless they somehow prove that they are prioritizing better. They broke trust in their commitment and one way they can prove they are trustworthy again is by doing smaller or insignificant jobs well. (Adra L.) It's hard to find a balance sometimes, especially when they have multiple passions that pull them in many directions. However, a production is a commitment and there comes a time when a decision has to be made. You either make the time and commit to the cast, crew, and show or you appreciate your time spent and move on to what matters more to you. You can have many passions in life but if you aren't careful, you'll burn out. That seems to be a major factor in today's teens/youth. (Cherish T.) It is impossible to give 100% to each activity at the same time. Kids learn from making hard choices, from time management, from failure as much or more than from success. If it were me I would approach it as a collegial lesson. “The cast depends on each person to create a whole performance. People count on you. Their time and effort is wasted if you are not prepared on stage the night of the performance. It harms the play, the cast members, and you. Another person from tryouts who is interested and prepared but not chosen is harmed as well. You take their chance to shine away by taking the part but not fully committing to it.” (Dianne F.) Theater MUST have its place and time amongst all other activities! Anything worth doing is worth doing well and that means effort. (Mandy G.) Create a Supportive EnvironmentI try to be really accommodating because they are 6th–8th graders, but it is incredibly frustrating. (Eliza L.) With extreme patience! (Jane R.) I am big on speaking for people who will never speak. Folks who say no to things to honor being in the show, miss out on events or re-schedule events to honor the show needs, skip lunch because otherwise they will be late, teach others it is fine to say no. You do not need to do anything. I have been in situations where other production members don't see that. More often than not, what I say goes or I say "Okay, when x, y, z happens (and it almost always does) it's on you to deal with and not me. (Kevin S.) I try to work with mine but unfortunately some of our other programs aren’t as flexible. In those instances I make sure my students know it’s not me forcing them to choose. (JMS) In our small school, I am always sharing with all athletics. It makes for late nights. I'm tired, they're tired. I make sure we have lots of snacks and water. I try to give grace when I have to. It's so hard. But if you think they're not committed, I always say they are always auditioning, showing who they are. (Dotty D.) I’ll work with kids. They get small parts that don’t really influence the show whether they are there or not. But I want a kid to be able to be in a show if they want to. If they aren’t honest and aren’t there, they aren’t in the scene and lose lines, etc. I used to fret. Now I just allow them to do their thing. (V.F.) Additional Reading: Helping Drama Students Understand Commitment

Ever found yourself at the helm of a lively, energetic, and occasionally disruptive drama club? In search of practical strategies and teacher-tested tips to maintain positive energy and curb disruptions? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: How do you handle rowdy or disruptive cast members during rehearsals? Provide alternative roles or outletsAssuming much of the rowdiness/disruption is during their downtime, I give them a job/assignment/task, whether it’s to help design a prop, run lines with a beginning actor or struggling reader, take notes, learn the sound system, etc. But above all else, if I can’t keep the students engaged and busy with valuable contributions to the production 80% of the time I ask them to be there, then I haven’t created a very empathetic rehearsal calendar. (Barry H.) Downtime for long periods while you block shows organically and expect students to be quiet and focused is not good for anybody. Give idle students a task if you have to focus on small group scenes. Make sure they learn when it’s almost time for their cue when backstage. I have also learned that reward gets more students onboard with behaving. So have a reward system. (JS) Self-control, respect, and remaining on task are expectations and can be achieved. That being said, I try to remember the age of the students with whom I am working. I try not to push them past what is developmentally appropriate. We take breaks often and regroup so that everyone can refocus. Team building games really help everyone feel like they matter, whatever role they play during a production. (LB) Establish clear expectationsI was a high school English teacher at the start of my career and quickly learned “the look.” It would stop them in their tracks. In the beginning I would also firmly and quietly say, “Not acceptable.” The kids knew they had crossed the line and I never had a problem again. (Denise H.) We have a culture of respect. Our contract, which must be signed and turned in before auditions, lays out the ground rules for participation. Then, we have a point system, and kids who are top scorers earn tickets for friends and family. The stage manager handles all point totals. We have very few problems. (Buena HS) It is part of their grade. Parents see that up front as well as the students. Be up front about expectations/rubric. (FG) Implement a warning system & consequencesRepeat offenders who have already been talked to, redirected, given a chance, given tasks to combat boredom — they get the boot. Safety issues and blatant disrespect are the things that are zero tolerance for me. (Angela H.) They would be replaced. The theatre is a dangerous place and there is too much work to do for the production to put up with that nonsense. One reason for that behavior is boredom. High school kids inclined to do that need training and a lot of responsibility. My experience is that they tend to be good leaders if given the proper direction. (John H.) I am there to work and so are the rest of the cast and crew. If you need a minute to collect yourself, go for it. Can't? Come back when you can. (Cherish T.) I dismiss them from rehearsal immediately. (Lisa H.) Call their parents to come get them. (Roberta L.) Create a safe spaceI begin with understanding needs and creating an atmosphere of safety. From there, I work to create an environment that everyone, no matter their circumstances, can enjoy the process and experience and thrive within. What many directors fail to understand is that mental health issues or neurodivergence can ignite so-called disruption in rehearsals. However, knowing how to hold space for the rehearsals to be equitable and inclusive is important because we want to build opportunities for everyone, not just those who can meet all the needs of our subjective expectations. (Traci F.) Sometimes this is ADHD, spectrum, or neurodiverse behavior. I try to take my cues from the other young people. Are they bothered by the disturbance? Because sometimes I can’t concentrate when there’s too much disorder, but the students are fine, and sometimes I think what I am presenting isn’t holding their attention. And then, if all of that seems to not be the issue, then it’s time for a one-on-one chat, where I ask them questions such as, “If I ask you to do such and such and you don’t do it, what are you telling me?” and “If I have to ask you several more times what do you think I should do?” Then that way they are basically firing themselves if they do the behavior, assuming that they can control the behavior. (Barbara M.) I think it starts with relationships. You build on the relationship and leverage goodwill. (TT)

Stepping onto the stage is an exciting journey, but, inevitably, conflicts and disagreements among cast members can occasionally take centre stage during rehearsals. To avoid chaos, directors need effective strategies and creative solutions to minimize conflicts and foster a harmonious theatrical experience. So, we went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: How do you handle conflicts & disagreements among cast members during rehearsals? Step Back & Talk It OutTake 10… Come back with suggestions… 😎 (Chris C.) Count to 10 (or 5 slowly!) and ask what the issue is. Then say, “No one is trying to be difficult. How do we move on?” (Guy N.) Each person gets their say. We decide what compromise can be made. If not, I’m the final decision. (Heidi T.) Do Team-Building ActivitiesStop and do a bonding activity. My fav is apologies, ahas, and appreciations. Everyone says all of those. Strong reset. (Cassandra G.) Hold Mediation SessionsI can’t tell you how many times I’ve said, “Keep the drama on the stage! Now… the two of you — you have an appointment with me at 2:30 today. See you then. For now, let’s get back to rehearsal.” (Rogue Playhouse) They can submit a form with me during rehearsal, and I mediate conflicts during breaks or after rehearsal. (Spartan PA) Establish a Code of ConductI explain that in the workplace we don’t always agree with our co-workers but we must remain respectful. (Claire PM.) Leave the egos at the door and focus on the production. The rehearsal process is a time for trying out or playing with ideas. At some stage I believe the person nominated as the director will focus on bringing it all together. (Gordon B.) The Director Gets the Final WordThe rule of acting is that only a director can comment on someone's acting or the stage manager on the loss of a line. (Deborah F.) Theater is a benevolent dictatorship. The director has the final say, always. Ideas can flow, but in the end the director decides. (Colleen M.) I tell my casts that every director has their own style, and while I consider myself collaborative, we don't have time for consensus. Someone has to make final decisions and that someone is me. If that is clear from day 0, then no conflict can fester. (Isaac W.) Additional Reading: Problem Solving: When Students Don’t Work Well Together

As theatre educators we understand the importance of making every student feel valued and inspired throughout their theatrical journey. However, we know that students can become discouraged when consistently cast in ensemble roles despite aspiring to take centre stage. Establishing strategies that foster confidence and resilience among these students is so important. But how do we effectively accomplish this? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: How do you support students who feel discouraged about consistently landing ensemble roles? Put the work inAsk if you can cover / learn a smaller role, to expand your skill set. If okayed, then show up and shadow quietly and respectfully. (Amy W.) Work on your craft with people who have succeeded at what you want to do. Arrive early and be willing to stay late. Focus for the entire rehearsal period. Maintain a positive attitude — never complain or bring your problems to rehearsal. Understudy every role in the production that you could play and be ready to step up in rehearsal to fill in for absent actors. No one starts as a lead — you have to consistently give your best and be seen doing so. (Kimberly F.) It gives you a chance to show how hard you are willing to work. If you work hard, show up, and limit excuses, a director recognizes that. And that moment at auditions when it’s between you and someone else for a lead role… trust me, they won’t forget that. (Matt B.) The work is the same whether it's a lead, a supporting part, or an ensemble. Do the work. Keep doing the work. Because if you don't like the work you're in the wrong business. (Allan R.) I always tell my students who are in the ensemble and want to do more to show up on time every day, learn their lines and everyone else’s lines, do their absolute best, and be an asset to the show. There have been many times that we’ve needed to replace a leading role for a myriad of reasons and those faithful ensemble students are the first to be promoted. Also, I’d tell them that every rehearsal is an audition for your next show with me. If you are a joy to be around you have a much better chance to get a bigger role next time. (Mary R.) Allow them to savour the chance to shineShine as an ensemble member. Interact with what is happening on stage. Make choices that will show directors, audience, and fellow actors that you are not just taking up space on stage. (Lauren P.) No matter what the size of the role is, it is how you shine in every role. (Danny J.) Make the role you got the BEST role it can be. (Amy R.) I have had leads and ensemble. Ensemble is so much more fun! Less stress, often more stage time. Just because you're in the ensemble doesn't mean you can't steal the show. 🤩 (Heather J.) Explain that ensembles are everythingEnsemble gets the most stage time and, as far as I’m concerned, is the hardest working performer on stage, between costumes, choreo, and random lines! (Talia K.) Theater isn’t about the leads. Theater is about collaboration. Being a part of it, participating, meeting the best people in the world. (Tommie G.) Ensemble roles require the ability to blend, and not everyone can do that. It's a gift if you have the right mindset. (Sarah P.) The ensemble makes or breaks the show. Great ensemble, great show. (Janine M.) Ensembles are EVERYTHING. They are the glue, the foundation, the heart and soul of storytelling. (Melissa C.) The most fun roles I ever had were ensemble. Less pressure, fewer lines, all the fun of parts of the team and experience. (Tara F.) I tell them about how I need strength and talent in the ensemble; it can’t just be a bunch of random useless people standing around. I need their skills and leadership to help build a full scene. Then I tell them about shows, good legit shows, where it was the ensemble that made that show great, not the leads — the ensemble made it shine. It helps the kids when they know you see their worth. (Andi C.) The ensemble can be really great as you often get the chance to play more than one character, you are in almost every large number, plus way less pressure to learn as many lines usually. Becoming a strong ensemble member can lead to becoming the understudy which is absolutely underappreciated. People should be proud of these roles. (Jessica H.) Show them how to learn from the experienceThere is just as much to be learned in the ensemble as there is in a solo role; it's all what you make of it. (Sarah P.) It’s not the size of the role, it’s the fun you make of it. (Alice X.) Focus on the importance of their role, and why it is critical to the success of the show. (Fiona Y.) I look for leadership. Can they help lift and inspire other cast members to lend a hand, work hard, get off book, master choreography, give their best? My leads are also leaders. (Colleen S.) I would say to them, enjoy and learn from whatever roles you are offered — chorus or ensemble is better than not being cast at all. Make connections with others, do your job well, don't complain. You never know, you might be perfect for the next leading role in a show that your director will be doing in the future. (Wendy G.) Being in the ensemble is one of the best positions to grow within. Not only do you see the stage more than many lead roles do, but you also have an opportunity to watch and learn from the best vantage point. Time. Sometimes you're just not quite ready. Never stop just because you didn't get that role yet. Key word: yet. (Cherish T.) Encourage them not to give upBe great in your ensemble part and make it your own. If you do it well, you will be noticed and placed in a suitable main role eventually. (Melissa S.) I agree with many other responses but my foundation is: “Theatre is where everyone has a place,” and I remind them of the unique characteristics I see them bring and that the show would not be the same without them. (Jennifer M.) Each role is equally as important as the others. I see you and I notice how hard you are working. I am incredibly glad to have you here and our show wouldn't be the same without you. We can only take so many kids a year in our show and you made the cut, so be proud of yourself and let's continue to build your skills in theatre. (Morgan S.) Your place in this department and in this group is larger than any single role. It doesn’t matter what you’re playing, we need you here. (Carlos G.) Don’t give up until it’s not fun anymore. (Rochele S.) Commit to the role, whatever it is. Fearlessness, good attitude, and willingness to listen to constructive feedback. There is a role that will find you if you work toward being ready for it. (Mitchell B.) Additional Reading: * The Importance of Ensemble Thinking * Ensemble is More * Top 10 Ensemble Plays for Students * Ensembles are Characters Too * There are No Small Parts

You’ve chosen a play, cast your actors, run lines and are preparing for the rise of the curtain. But as opening night approaches the nerves and the butterflies are taking up more stage time for some actors than they should. How do you help your actors deal with stage fright so their performances can shine? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: How do you help students deal with stage fright? Take it one step at a timeI cast them in small roles at first and work up to bigger things. If it’s possible to give them partner work with other students who can encourage them, that’s great too. (Patriot Playmakers) I say the bit about it going away once they get the first line out. (Marilyn L.) Baby steps… and letting them in on the multitude of celebrity performers who also face this issue repeatedly because of the art they love. (Barry H.) Dig a little deeperI tell them that when they know what they’re saying, and why they’re saying it, when they understand the circumstances, when they don’t “memorize” lines, but “understand” the lines, when they rehearse until they are fully prepared, a lot of that fright will disappear?. (Patricia L.) Practice makes perfectIf they have not been on stage before, you might try turning on all the stage lights (like it would be for a show) and turning off all the audience lights. This way they may not see into the audience. Remind the person they are portraying someone else. They aren’t themself but someone else who is part of the story being told. (Will S.) Normalize the fearI always tell my students that stage fright is normal, it just means that they really care about what they are doing. (Lori W.) When it comes time for the performance or even in a rehearsal where the focus is more on them, let them know that it’s ok! Stage fright is normal in every avenue of performances. If you still get nervous or an adrenaline rush or butterflies, even after many shows, you know you still love it! (Cherish T.) Patience and use your veteran kids to help give your shy kids confidence. (Randy I.) Explore the mind-body connectionYou have to teach the skill of managing performance anxiety so each actor can do it independently. Slow the breathing through breathing exercises, encourage good mental and emotional preparation beforehand, complete a thorough physical and vocal warm-up, and use visualization for success. (Elizabeth S.) Deep breathing exercises. In through the nose for a count of four, hold breath, release breath for a count of eight. Repeat. (Dave S.) Say your lines while jogging or doing burpees to train the brain that it’s ok for your heart to race when doing these lines. The brain won’t go into meltdown when their heart starts racing with panic and they will then realize they can do it. (Emma R.) Need more advice and tips?We’ve got you covered! How to Solve Common Beginning Actors’ Mistakes Helping Drama Students Succeed: The Introvert

Whether you’re new to teaching or new to teaching drama, producing your very first show can evoke equal parts excitement, nervousness, and terror. You know you want it to be great for your students and your audience but beyond that, how do you keep it from stressing you out too much? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: What’s your best piece of advice for drama teachers producing their first show? It takes a villageDon’t try to do it all yourself. (Glenn K.) Don’t be afraid to ask for help and delegate. Find out who is good at doing what and get them involved, especially parents! It takes a village to put on a show and have fun! (Tatiana B.) Ask for help. (Kathy S.) Delegate. Delegate. Delegate. (Jack S.) Enlist help from parents. Support from them is invaluable. (Jacque A.) Build a parent network for your crews — costumes, props, tickets, etc. They will be invaluable to you. Relax and enjoy the process. Listen to the kids — they often have great ideas. Keep your vision in front of you at all times. (Deborah Z.) Use trusted friends and teachers as your adult staff. As much as parents want to help, they can be more trouble than they are worth. Encourage them to just sit back and enjoy the show. (Thia T.) Have a strong creative team who support your vision. (Heidy P.) Start small and include as many people in your community (local/school/area) as you can. Many hands make light work and there is no better feeling than when everyone feels a part of the show. It becomes “our” show instead of “the show.” (DWME) Delegate as many tasks as possible. (Tamara S.) Don’t be afraid to ask for help!! We’ve all been there! (Carolyn G.) Find (or make) a tribe! Chances are you know someone who knows how to use a sewing machine or has a bunch of weird clothes. That’s your costume person! Have a friend who’s really detail oriented and a self starter? That’s your production manager. Don’t be afraid to ask for help and get creative! (Jeremy T.) Use your resources! Ask for help! (Paige M.) Ask other teachers to borrow their stuff — then thank them in the program! (Maureen K.) Involve your studentsWhen in doubt, let the kids lead. And don’t be afraid to delegate! (Cynthia R.) Get the kids involved backstage. Give them responsibilities with props, transitions, costume changes, etc. They love it and take it so seriously and it gives you more capacity to manage the things you cannot delegate. (Shelley M.) Let the kids teach YOU something. The best scenes can be spontaneous from their imaginations. (Kelly R.) You are doing this for the kids first! Not only for the audience and good publicity. (Petra B.) It doesn’t have to be perfectIt will not be perfect, but it will be perfectly what it needs to be for that time in your career/your students’ lives. Simplify when you need to simplify, delegate to students as much as you can, and remember it’s meant to be an educational experience for all involved! (Tabitha C.) No matter what happens and what you put on that stage, the parents will love it and your kids will have learned something. (Marisa B.) You’ve got thisLet the educator in you lead the way. Then it’s always a smash hit! (Christa V.) Know It will be ok. Repeat: it will be ok. Because guess what? It will be ok. (Annie B.) You will never feel like you have enough time. EVER. So don’t think you feel this way because you are putting on your first show. (Lisenka B.) Don’t forget to Have FUN. (Pieter V.) Keep it simpleDon’t try to go too big. Pick a less tech/minimalist kind of show so as not to overwhelm yourself or the kids. Then as you get more confident, go for something bigger. Lots of great minimal one-acts out there. Delegate to kids, and put them first. Have fun! (Melanie F.) Keep it simple and achievable and most importantly, FUN. (Amanda P.) Keep your designs simple. The human imagination can fill in a lot. (Josh M.) Choose one thing the audience notices and do it well. Next time do two things well. Eventually it will all be amazing. (Kristin B.) Start small! (Julie S.) Do a vignette play. (Rebecca A.) Focus on acting over other things if you have to choose, and if you choose a show that highlights the kids you have, your job is so much easier. (Heather T.) Self-care countsBreathe! Don’t work every day — you get weekends! (Makaela H.) Eat. Drink water. Get sleep. The students will emulate your habits and now is a good time for them to learn healthy habits to keep from burning out. (Patrick S.) Keep your energy high and your anxiety low. The show will happen … eventually (Arbaayah T.) Work with what you’ve got, give what you can, and know when it’s time to say, “This will be fine the way it is now.” (That’s usually a day or two before opening.) (Chachi C.) Stay organizedStay organized, take help when it’s offered, and remember that it’s more about the process than the outcome. (Alison B.) Knock out as much as you can in the beginning, more than you normally would, so you have room for the fun embellishments and room for missed rehearsals. Blocking, ordering, designing everything saves a TON of stress at the end. (Kaitlyn L.) Read the script 5–10 times before you start. (Mary Beth E.) Two or three helpers, delegate, have a very well-organized backstage area/prop table with each prop or group of props sectioned off with tape (AND clear rules on if it’s not your prop DO NOT TOUCH IT OR MOVE IT), run sheets, backstage copies of scripts, designated person to help with quick changes, etc. And have fun!!! (Adra C-L.)

Every production requires the right blend of individuals to help tell the story. As theatre teachers, the challenge is finding these individuals and matching them to the parts that will best bring your production to life. So how do we ensure the casting process is successful for both your students and your show? So we went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: What is your best piece of casting advice for fellow directors? Kindness countsBe positive and encouraging throughout the process. Some students are terrified. (Christa) BE KIND. Your community theatre production or high school play is not Broadway, so give it a rest. Your job is to nurture, teach, and inspire a love of theatre. (Rebecca) Remind everyone who auditions that they did a great job; even if they do not get a part they will feel better and try again. (MMS) Create an inclusive audition environment that feels like a workshop — a shared experience rather than a competition. Community is built and there is more support for those who get cast from those who didn’t. (Christa) Talent isn’t everythingWork ethic > talent. All day, every day. (Amanda) Attendance matters. Don’t cast someone in an important role who is absent a lot. (Kelly) Cast commitment over talent every time. (Trevor) Personality and character over talent! Always ask yourself, “Do I want to work with this person?” (Skee) Take a chance on talented, hardworking people even if you don’t initially see how their type can fit the role. If they can sing the part, are dedicated, qualified and reliable give them a shot — especially if that’s what you say you value. You can cast a taller sibling to be the young one, grandparents don’t need to look like their grandchildren, etc. (Jordan) Go with your gutAbsolutely go with your gut. If something feels off, don’t cast them out of pity or obligation. Cast what your show really needs. (Beth) Trust your instincts. Don’t be afraid to cast against type. (Matt) Create the callback list with your head, the cast list with your gut. (Dan) Craft the play you’d want to be in the audience for. Trust your sensibilities. (Shannon) Cast the best person for the partSometimes your show needs that student and sometimes your student needs that show. I’m all about making amazing theatre, but I’m also about creating community, learning, and encouraging amazing human beings and sometimes that looks like casting someone who isn’t quite right or might take a bit more work. (Brittany) Type can be important and is part of the story-telling, but as the great Artistic Director of the American Conservatory Theatre said, “When faced with a choice between the right type and the right talent, go with the talent.” To augment that, especially in educational or community theatre where your talent pool is limited, it’s important to put the right personality in the right role. A student actor might not be gifted, but if their own personality will illuminate a role, then they will be a success in it. (Michael) Don’t cast based on how long someone has been in the program. Cast the best person. (CJK) Don’t let parents bully you! If a 6th grader is better for a role than an 8th grader, don’t let their age hold you back from casting them. (Rebecca) Don’t be afraid to take risks. Cast against type if an actor is really best for a role. You will likely be pleasantly surprised. (Kim) Give newcomers a chance at acting. And don’t get hung up on the physical appearance of the actor. If the spirit of the character comes through, that’s your person. (Jeannette) To callback or not to callback…Do not have callbacks unless absolutely necessary. Do good tryouts and you should know what you have. Callbacks just hurt kids more. (Jared) HOLD CALLBACKS. Look for chemistry between scene partners. I call it “SIZZLE,” that certain something that pops off and makes you want to see more. (Lara) Do what you say & say what you doIf you say you don’t precast, don’t. Kids will see right through it. (Sean) Whatever you say you’re going to do after auditions, follow through and do it. It is only your reputation. People tend to remember things like that. (Jim) No matter what, someone’s feelings are going to get hurt. You can acknowledge that at auditions with the students; let them know you’re aware of their feelings and casting is not easy, but that it’s your responsibility to place students in the positions where they can learn most and most succeed. (John) Keep it fairCast with a casting team. It helps you when parents accuse you of favoritism or whatever. (Christi) Communicate the cast listEmail the cast list to those who auditioned and BCC their email addresses. This way the students can choose the environment where they read it and react accordingly. They can choose to be with friends or by themselves. Also, email the list after school. If it is sent before or during school, the results could distract them in other classes. This way it gives them the night to think about it and process in their own ways, again, without having to be in public if they choose. (Tim) Post on Friday afternoon. It gives them (and you) time to reflect and recover. Ask for an indication from them that they “accept” (either initial the cast list or e-mail). Emotions tend to abate over the weekend (especially THAT parent!). (Chad) Post the cast list at the end of the day (preferably on a Friday), and leave the area immediately. (Karla) Always “sleep on it” at least one night before posting the cast list. (Christa) A few final suggestionsI always ask each student for their top three choices of characters they would like to play. It’s not always the lead parts you think they’d actually want. Makes it easier. Everyone got one of their top three. (Angela) Look for the heart of the character. You can teach the rest (accents, style, etc.). (Holly) Always leave room for a surprise. (Gary) Be patient. Don’t rush the process. If you need another day, take it! (Carolyn) Want more information on the casting process?We’ve got you covered! • How to deal: Not getting the part you wanted • How do you cast school plays? • Thoughts on gender and casting • Putting on a class production: Casting • Pros and cons of double-casting • Casting challenge: Not enough actors! • Casting challenge: Too many actors!

Costumes are a fabulous part of theatre — they help tell the story, they help actors get into character, and they immediately tell the audience something about what’s going on. But whether they’re extravagant or simple and functional, sometimes it can seem overwhelming to know where to start. So we went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: What is your best piece of costuming advice for a new director? Second-hand successBuild relationships with second-hand stores (the independent ones). Many will let you borrow items out of your budget in exchange for their name in the program. Some will ask for a deposit but I have borrowed furniture pieces (couches, chairs) that we didn’t have space to keep so would have donated back anyways. Sometimes they will ask for a refundable deposit. (Jessica) Always check thrift stores first. It’s amazing what costumes can be made from thrift store finds. (Sue) Get creative! Curtains make great cloaks, aprons, skirts, etc. and the fabric is cheap when you shop resale. (Kendra) Thrift shops, people’s attics, yard sales, borrowing from other companies. Then return on time and in good condition. (Debbie) Shop Halloween stores November 1st and 2nd. 50-75% off costumes, makeup, props, etc. (Jennifer) Many of my best costumes, props, and sets came from local theater companies in town who often had storage rooms full of these things and let me “borrow” them if they were not using them at the time. I, of course, return them cleaned. A tremendous help! (Tina) Think outside the boxIf you’re in a school with houses, make costuming a competition between houses. All of a sudden all the teachers who can sew and glue and make things are there to help. Used recycled materials. Budget for a trophy. Works every time. (Amina) I used to do sketch comedy, and I was told to “suggest” the costume. There was never time to do full costumes with no crew and fast changes. And use glow tape to find your shoes in the dark! (Marilynn) K.I.S.S.Keep it simple! Children can make a great deal of costumes creatively at home or indeed in a workshop. It’s really good to include them in that process. Encourage them to think about their characters’ appearance and props. Simple materials and methods can be very beautiful. Drama lessons should promote an awareness of all of the elements of theatre. (Grace) Keep it simple! Ask for help. And use your imagination to repurpose the resources (sets, costumes, props, whatever) you already have available. I’d also suggest: Choose a play or plays that allow for flexibility in casting. It’s hard to know how many kids will audition, etc. (Lisa) Keep it simple! Don’t try to recreate Broadway. Choose pieces that lend themselves to simplicity in staging and costume design. Be open-minded — just because a piece traditionally has a big set and splashy costumes doesn’t mean it can’t lend itself to simplicity. Look to the themes of the play — can they be supported by a simple set and costumes? (Elizabeth) Keep it simple, because it can very easily spiral out of control. For example, have the actors provide a basic black outfit. You provide hats, scarves, and neck ties to define the character. Also, always have another adult around if/when you’re taking measurements and/or doing fittings. (Josh) Keep it simple. “Wear all white,” “jeans and plain white t-shirt,” “borrow from friends/family,” etc. are common phrases around me. If you do buy costumes, sell off the old ones to buy new. Don’t get attached. Besides, you don’t need them cluttering up your storeroom. (Heidy) Get by with a little help from your friendsBorrowing is a thing! You don’t have to build or buy it all yourself. Shoot out emails to families, staff, your grandma, everyone. And make social media posts: “Here’s what we need.” People will come out of the woodwork to give or loan you things. I once got a 6’ tall paper mache horse. Just saying, ask and you’ll get sooo much for free! (Andi) Ask for help! Don’t put too much on yourself! You’ll be surprised by how many people might be willing to help if you just ask. (Stephanie) Facebook groups for sharing props, costumes, etc. among communities are great. Someone has done that show near you and might still have that item to lend. (KJM) Plan your work & work your planKeep lists. WRITE DOWN EVERYTHING. Lists are your friend. Staying organized with your tech will make your show run 1000 times more smoothly. (Mary) Plan early but be willing to make adjustments and changes in your vision too. (Mikki) When you’re deciding what to store and what to do away with, think of it through this framework: Keep what you would not easily be able to replace. Good examples of this are vintage items like typewriters or old televisions or expensive items like wedding dresses and suits. (Miranda) *Need some more advice and direction? *We’ve got you covered! • Round-up: Your Costume and Prop Challenges • Round-up: Common Costume Concerns • Costume Care: Do’s and Don’ts • Basic Costume Items Every Drama Student Should Own • Measuring Up: Costume Measurements • Create a Costume Vision Board • How Costumes Affect Your Character

Welcome to a new year, drama educators! If you’re new to teaching drama — whether you’re an experienced educator who has changed departments or you’re a brand-new teacher — we are so happy you’re here with us. You’re part of a special group of teachers and we’re here to lift you up and help you succeed. This month we are focusing on advice for new drama teachers — tips, tricks, and resources to make your life easier. This post is all about planning ahead, before you even meet your students. The more you plan out in advance, the more prepared and confident you’ll be. 1. Think about what you want to accomplish this year.Take some time to think about what kind of drama teacher you want to be. Write down some adjectives that resonate with you, such as kind, inspiring, thoughtful, creative, or patient. There are so many words that describe a great teacher. Think about what led you to become a drama teacher, what areas of drama and theatre you are excited to share with your students, and what you hope your students will learn from you. Stick this list somewhere you’ll see it regularly. 2. Make connections with colleagues and community partners.Get the names and contact information of the other teachers in your department. See if you can get together for a coffee and pick their brains. You’ll also want to reach out to teachers in associated departments, such as English, music, dance, and art, particularly if you are the only drama teacher at your school. While your administrators will be your go-to resource for school policies and procedures, your colleagues will be better able to give you the ins and outs of the day-to-day routines. If it’s appropriate, meet with the previous drama teacher and see if they have advice or resources they can share with you. Look up drama teachers in nearby schools and send them a message to connect. Make a list of possible community partners, such as local theatre companies. Start building your own drama community. 3. Make an assessment of your current resources.What “stuff” is available to you? Get into your classroom as soon as you can and do a thorough once-over. What do you have in terms of teaching materials, school supplies, furniture, scripts, technical equipment, props and costumes, performance space, and budget? What teachers or departments in the past have helped out with productions? Does your library have scripts or texts that could be helpful? What items in your classroom need to be better organized? What is outdated or missing altogether? Think about your own skills and strengths as part of your resources. What areas of theatre are you most passionate about and/or skilled at? What areas do you need help with, or know less about? Once you know what’s available to you and what you’re lacking, you can start to make a wish listand work towards sourcing those things. 4. Start thinking about how you want to run your classroom.Routines and systems will help your students know what to expect and help you stay organized and on top of things. Start to think about what tools and techniques you might use each day. Daily student check-ins? Circle time? Small groups? Bell work? Games? Warm-ups? Exit slips? Start collecting resources and see what appeals to you. The New Drama Teacher Toolkit, which is free to download, is a great place to start. 5. Accept help and take advantage of available resources.If other teachers, colleagues, friends, family, students, or parents offer help, take it! You can’t do everything alone. Build your collection of tools, resources, and connections as much as possible, and continue to refine it as you go. And don’t forget that whether you have lots of resources already available or you’re starting from scratch, Theatrefolk has you covered. We’ve got a huge collection of scriptsfor high school and middle school students, for both performance and classroom study. Many of our plays come with free study guides as well. We’ve got teaching resources on topics such as teaching methods for new drama teachers, playwriting exercises, improv, emergency lesson plans, and more, as well as a ton of resources on our website that are totally FREE. As well, the Drama Teacher Academy is an incredible resource with thousands of lesson plans, professional development courses, and teaching tools (including posters, videos, toolkits, printables, and scenes). We are here to help!