Challenges

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.

What do you do when you enter the drama classroom, ready to teach, and half your students aren’t in class? Maybe it’s due to illness, a field trip, it being the last week before winter break, the full moon? Whatever the cause, it’s hard to proceed with your carefully planned lesson when you’re missing students. It might feel like you haven’t had a fully attended class all term. But try not to stress! Here are some adaptable and productive ways to make the most of a partially full drama class. 1. Do activities with flexible participant needs.Lots of theatre games and exercises can be done individually or in pairs, or by dividing the class into two teams (regardless of the number of team members). Try exercises like Commercials, Two Prompts, Speed Props, Row of Hats, Scenario Generator, or the old favourite Scenes from a Bag. None of these exercises have a required number of participants outside of partners or dividing the class into two teams. This also gives students the opportunity to work with peers they may not have had a chance to work with before. Additionally, this is a great time to do playwriting exercises, watch pro shoots of plays and musicals, or have students work on research projects. These activities can all be done individually or with a partner. 2. Focus on individual practice and skill building.With fewer students, you can give each student more personal attention. You can use this time to work one-on-one with students while they practice theatrical skills, such as cold reading, taking direction in an audition, neutral position, or vocal exercises. You’ll be able to devote more time to each student and give more detailed notes and confidence boosts as needed. With a smaller group, your students will likely have the opportunity to take your notes and try again. This one-on-one time can also help you get to know your students better and explore how they like to learn and how they receive feedback. 3. Use class time as a rehearsal lab for upcoming performances.Many students will feel relieved when they can work and rehearse in a classroom with fewer people present. There are fewer distractions and it tends to be quieter. Rehearse solo and pair scenes — whatever can be done with whoever is present. If your students are working on group scenes and some of their group members are absent, try having another student step in and act as an understudy. Have the group members teach the understudy the blocking and acting approach as a way to demonstrate their understanding of the full scope of the work. If you’re feeling generous, make recordings of the rehearsals so the absent students can get caught up later. 4. Use this as a “real world” lesson.Absences happen all the time in the real world. It doesn’t make them any less annoying or inconvenient, but it means you can use them as a learning opportunity. Try the Casting Challenge — Not Enough Actors exercise using only the students in the room, or have students problem solve a hypothetical issue such as having an actor drop out of a production. Study small cast plays and discuss their advantages and disadvantages. Talk about double casting and how it can be advantageous when actors are absent. You can also try the exercise Last Minute Fill-In, where one group member from each group gets moved to a different group five minutes before performance time. When half your class is absent, it’s like a real-life improv moment: reacting to what’s happening with the people around you, pivoting, and going with the flow. You may have to let your plans go for the moment, but you keep going. These days can be challenging, but they may also turn into a meaningful, memorable experience for your students who are in class, because of all the extra attention they received. Additional Reading: How Do You Manage Overcommitted Students Who Miss Rehearsals?

It might happen in rehearsal, before an improvised scene, or just before a student is about to step onstage — the student freezes, panics, or shuts down, and the words “I can’t do this” fall from their lips. What’s a drama teacher to do in this situation? You can push your student, or you can work with them to help them through the moment. Drama class isn’t just about performing; it’s also about building resilience, trust, and confidence, but that can’t happen if the student isn’t in the right mental space to do so. When a student says “I can’t do this,” it doesn’t usually mean “I won’t do it.” It usually means they’re feeling nervous, embarrassed, or anxious, or they’re worried they’ll look silly or fail in front of their fellow students. They may just not have a better way of saying it. Your response in these moments can make a big difference for your student — both for the performance that is about to happen and for their self-confidence going forward. Here are some tips to help you support your student, if and when this situation occurs. 1. Pause and acknowledge how the student is feeling.Take a moment and don’t rush to get the student onstage. Acknowledge what they’ve said, and re-state it to ensure that you understand what’s going on. You might say something like, “It sounds like you’re feeling a bit nervous. If so, that’s totally normal. Going onstage can be nerve-wracking.” This can help the student feel seen, and it also gives them the opportunity to agree with your assessment or to correct you and let you know how they’re actually feeling. Either way, it opens up the lines of communication. 2. Normalize discomfort in the drama classroom.In drama class, students are asked to try new things, fail, and try again. They are challenged to push themselves out of their comfort zones and explore concepts and ideas that might feel awkward or difficult at first. Let students know that it’s ok to feel uncomfortable; it’s a sign that they’re growing and expanding as a theatre artist. Reframe the student’s feelings as “I’m learning” or “This is new to me” and that the learning process is full of peaks and valleys. Remind students that they’ve done challenging things in the past, and they’ve succeeded! 3. What’s the next step?If your student is feeling overwhelmed, try helping them identify what the next step is. For example, if they are doing an improvised scene, they need to find out what their prompt is to get them started. If it’s a rehearsal, give them a moment to review their script. If it’s a performance, have them take three deep breaths before stepping onto the stage. If they have a scene partner, perhaps they can enter together. Breaking down a big task into smaller steps can make it less daunting. 4. Offer a safety net, but not a shortcut.We want to support our students, not let them opt out. Unless they are legitimately sick (or there is another emergency), they won’t learn anything if you let them off the hook. You could allow the student to select their own, trusted partner for scene work, or give them a moment to review their script. You might let them take a breather and observe another student complete their task, and then let them jump back in and perform. You aren’t giving the student permission to not complete the assignment; you’re simply offering some accommodations to meet them where they’re at. 5. Reflect afterwards.Once students have performed their piece (even if it’s a portion of their original piece or modified in some way), reflect with them on what happened, how they were feeling, what helped them through the moment of feeling stuck, and what they might do differently next time. See the giveaway below for some reflection questions for you and your students. 6. Model vulnerability and encouragement.Going forward, you might find it useful to share a story with your students about a time when you yourself felt fear, confusion, or self-doubt, and what you did to deal with your feelings in that moment. Let students know that everyone feels nervous at times (even their own teacher), and they’re not alone. Encourage classmates to support and cheer each other on as well.

Creativity often flourishes in the face of challenges. When we lack certain tools, resources, or ideal circumstances, we are forced to think differently, adapt, and innovate. Instead of viewing limitations as roadblocks, they can become catalysts for discovering new solutions. Elena Sullivan said: "Creativity can flourish in times of crisis, and the absence of specific instruments or circumstances can become a motivator to create. Shifting attention from 'I don’t have this, that’s why I can’t do that' to 'I want this, and how can I get that?' liberates intrinsic resources that help to be proactive and see opportunities rather than obstacles. Creativity is the result of giving birth to something new, and it’s challenging, but the result is gratifying." Shifting Your MindsetAsk your students: How many times have you thought, I can’t do this because I don’t have that? It’s a common response when faced with limitations. But what if, instead, you asked yourself, How can I make this happen anyway? That simple shift in thinking can unlock a world of creative possibilities. Throughout history, some of the most groundbreaking inventions, artistic works, and solutions have emerged precisely because people didn’t have everything they thought they needed. The absence of resources often pushes individuals to explore unconventional methods and find hidden potential in what is available. Turning Challenges into OpportunitiesAsk students to reflect on a time when they faced a limitation: How did you overcome it? What creative solution did you come up with? Divide students into groups and have them share their responses. How did they turn challenges into creativity? Remember, creativity isn’t about what you have; it’s about how you think. So, next time you encounter an obstacle, ask yourself: How can I make this work? You may be surprised by what you create.

In Part 1 of our How to Use a Small Cast Play in Your Drama Classroom article, we shared two different analysis-based exercises that focus specifically on small cast shows. Now we’re going to focus on acting in and directing small cast shows. These shows allow students to work together in a more intimate setting with fewer peers. Both beginner and advanced acting students can do the acting challenge below. The directing challenge is great for an advanced-level drama class, or for a split-grade class, with the senior students taking on the director roles and the younger students as actors. If you’re teaching a director’s craft or similar class, directing a short small cast play (or scene from the play) could be your students’ culminating project. Students would be responsible for selecting, casting, rehearsing, and presenting their scene for an audience. In preparation for the acting and/or directing challenges, you may wish to have students complete one (or both) of our analysis-based exercises for small cast plays prior to casting and rehearsing the scenes. This will give them additional time with the script for a more thorough understanding of the text. If you need some small cast scripts for your drama class library, check out Theatrefolk’s top 10 plays for small casts or the Small Cast Script Bundle for some great options. 1. Acting ChallengeWith a small cast show, everyone gets featured and there’s nowhere to hide, so it can be an exciting challenge for student actors. In these shows students work closely with one another and get to know each other more deeply. There’s a lot riding on each actor to pull their weight in the show. It’s a lot of responsibility but also a lot of fun. Unless you have a very small drama class to begin with, you’ll need to divide students into small groups. If the show has multiple scenes, assign one scene from the play per group. If there aren’t scene cuts, you will have to assign a specific page or cut of the script to each group. Keep it to 1–2 pages if you’re doing this challenge in one or two class periods. (You will need to allot more class time if you want the students to perform the scenes off-book; otherwise, students will perform with script in hand.) If the play you’re studying has one common set throughout the show, let students know where the common entrances and exits are for continuity purposes. Have the groups cast their scenes with the students they have in their group, and rehearse and present the scenes. Perform the scenes in the order that they appear in the play. You may wish to film the performances so the groups can watch their performances back. Afterwards, have students compare and contrast the actors’ approaches to each character, the evolution of the characters from scene to scene, and how the show flows from scene to scene with the different actors playing each role. If you have an uneven students-to-characters-to-scenes ratio, you could have some students act as directors for some or all of the scenes. Which leads to… 2. Directing ChallengeSmall cast shows are a great opportunity for a student director to tackle, as there are fewer actors and characters to wrangle. Tagging on from the acting challenge, have a group of students act as directors for the various scenes from the small cast show. Decide if you want your directors to work independently or cooperatively. For staging, you can have each director create their scene as they wish in terms of blocking, stage layout, and performance style, or have the directors get together in advance and come up with a universal plan for the setup of the stage and how they’ll guide their actors. For casting, you can pre-assign casts for each director, or have the directors do a casting session, metaphorically duking it out to determine which director will work with which actors. Once the groups have been set, the directors will cast the scene with the actors they have, and block and rehearse the scenes. Then, the student actors will present the scenes in the order they appear in the show. You may wish to film the performances so the groups can watch their performances back. If you’re doing both the acting and directing challenges and have some scenes with a student director and some that are self-directed by the groups, have your students discuss how the rehearsal process worked for both types of groups. What were the advantages and disadvantages of having a director versus being self-directed? How might the processes be different with a larger cast show?

In our last post, we challenged students to create elevated costume looks using only black clothing and accessories. This time, we’ll have one costume item and challenge students to style it differently to create various looks. In short, how can students use one item in many different ways? This exercise is useful to show students how they can create different, interesting looks using very little. Going forward, students can use this experience to help them costume a show on a budget, because when you use multi-purpose items, you don’t have to spend as much money. This exercise works best with groups of three. Each student will get the chance to be the costume head, the assistant, and the model. The exercise is done in three rounds. You’ll need enough costume items so each group has an item to work with. The colour and pattern of the items doesn’t matter. For the first round, each group will need a large piece of rectangular or square fabric, such as an oversized scarf, a sari, a bedsheet, or a towel. For the second round, each group will need a large piece of clothing, such as an oversized hoodie, a long dress (preferably made of an easy-moving fabric such as cotton or jersey), or a similar oversized, billowy clothing item. For the third round, each group will need a pair of shoes with laces. It’s up to you whether you keep the costume items a surprise or reveal them to the groups in advance. Instructions1. Have each group determine who is Partner A, Partner B, and Partner C. 2. For the first round, Partner A is the costume head, Partner B is the assistant, and Partner C is the model. 3. Partner A will receive the first round costume item — a large piece of fabric. Over the top of Partner C’s clothes, Partner A needs to manipulate and style the fabric to create three different costume looks. They can fold, scrunch, wrap, twist, and otherwise manipulate the fabric to make different styles or items — just don’t rip or cut the fabric. For example, the fabric might be tied around the model’s waist to create a wrap skirt or beach coverup, tied around the model’s neck to use as a cape, or wrapped around their arm or leg to use as a sling. As the assistant, Partner B is there to provide help and take a digital photograph of each look to submit to the teacher. 4. Once they have styled the fabric in three unique ways and taken the photographs, the group can neatly fold the fabric and return it to the teacher, and then move on to the second round. 5. For the second round, Partner B is the costume head, Partner C is the assistant, and Partner A is the model. 6. Repeat Step 3 with the second round costume item — an oversized hoodie, long dress, or similar large, billowy item. Again, no cutting or ripping the item. This round will be a bit different because, in contrast to the plain piece of fabric, the hoodie or dress will have a definite shape and different features, such as sleeves and pockets. For example, the hoodie could be worn as it usually is (as a shirt), tied around the waist for a casual look, and then tied around the neck for a preppy look. Students might fold the hoodie into a hat, using the sleeves to tie it to the model’s head or create interesting details. The long dress might be shortened by tying knots around the edge of the fabric, or worn as a skirt or an off-shoulder dress with the bodice tucked down at various points on the body. 7. Once Partner B creates three different looks and Partner C photographs, the items are to be neatly folded or hung up, and returned to the teacher for the third and final round. 8. For the third round, Partner C is the costume head, Partner A is the assistant, and Partner B is the model. 9. Repeat Step 3 with the third round costume item — a pair of shoes with laces. This item poses a challenge because it’s unexpected and doesn’t provide much coverage. If your students have played the theatre game Props, have them think about the shoes in the same way. Where on the body could the shoes be worn, other than on the feet? The shoes could be tied to the model’s head like a hat or fascinator, worn on their hands like puppets, or worn as a scarf or necklace by tying the laces together and draping them over their shoulders. If students are stumped, how could they style the shoelaces in three different ways? 10. Once Partner C creates three different looks and Partner A photographs, they can return the items to the teacher. All group members will complete and submit an individual reflection (found below) as well as submit their three photos.

If you’re working on a show with a tiny budget, one way many drama teachers have saved funds is by having student actors wear “rehearsal blacks” onstage — plain black pants and long-sleeve shirts. These items create a neutral visual palette. They’re easy to find and buy, generally easy to move in, and they allow the focus to be on the students’ performance. But rehearsal blacks don’t have to be plain. Let’s elevate our rehearsal blacks and use them as a tool to enhance the play. The following exercise gives students the opportunity to consider how thoughtful and creative choices with rehearsal blacks can denote character, status, mood, atmosphere, and more. Students can complete this exercise by sketching, using online images to create a mood board, or using black clothing items that they own to create character looks. Instructions1. Introduction: List and analyze various pieces of clothing and the words, phrases, moods, or feelings that each item conjures. Don’t think about the colour of the items or items with logos; just imagine plain clothes for this section. Here are a few examples: • Tops: tank top/muscle shirt, t-shirt, long-sleeve shirt, button-down, turtleneck, crop top, sweater, sweatshirt • Bottoms: dress pants, yoga pants, leggings, jeans, skirts, cargo pants, capris, cutoffs/”jorts” (jean shorts), sweat pants • Shoes: sneakers, flats, heels, boots, flip flops, crocs, slippers • Layering pieces: cardigan, hoodie, jacket, vest, bathing suit/coverup • Accessories: hat, cap, belt, jewelry, scarf, bag/purse, hosiery/socks, tie/bow tie, hair accessories • Miscellaneous: sports wear/uniforms, work uniforms, scrubs, military uniforms, suits, tuxedos, gowns, vintage/retro items Be sure to write down any interesting ideas that you think of. 2. Next, compare and contrast different fabrics and style choices. For example: • A dress made of cotton vs. satin vs. denim vs. lace • Ripped jeans vs. unripped jeans • Skinny jeans vs. baggy jeans, flared vs. straight-legged, capris vs. cutoffs • A black suit vs. a black tuxedo • A baseball cap worn forwards vs. backwards What do the different fabrics and style choices make students think about? What feelings or moods do they evoke? What do they say about the character and their personality and their choices? 3. Select a character from a play you’re studying or a play of your choosing. Using only black clothing and accessories, create a costume design for the character that shows their personality, evokes a particular mood, or is appropriate for a part of the play. Students may present their design in one of the following ways: • A costume sketch, with clearly labelled item and fabric choices • A digital mood board, using images found online • A physical mood board, using magazine clippings and fabric swatches • A live costume creation, using students’ own items or items borrowed from friends/family/school costume stocks (either presented live in class or through a series of photographs showing front, side, and back of costume, with optional close-ups of accessories) For example, if students are studying Romeo and Juliet, they might choose for Juliet a short black summer dress, black sandals, and a black bangle bracelet at the beginning of the play, or a long black dress, black slippers, and black veil when she is in the tomb at the end of the play. 4. Regardless of the method of presenting the costume design, students will include a brief (one page or less) written piece describing why their costume design choices make sense for the character. Why did they choose those specific styles or fabric choices? What mood are they trying to evoke? Why are those items appropriate for that character? What are they trying to say, or what story are they trying to portray through the costume choice? 5. Take it a step further: • Option 1: Using only black clothing and accessories, create three costume designs for your character that show their character arc throughout the play. Using the Romeo and Juliet example, Romeo might wear a black hoodie, black ripped jeans, a black cap, and black Converse sneakers at the beginning of the show; a black suit when he and Juliet get married, and a wrinkled black t-shirt (instead of the hoodie) when he kills Tybalt and is banished. • Option 2: Using only black clothing and accessories, create an overall “look” or “aesthetic” for groups of characters, to show their connection or social status. Perhaps Romeo and Benvolio wear Mad-Max-style black leather jackets and combat boots, while Lord Capulet and Tybalt wear black suits. Why did the student choose that aesthetic for that group? Give examples from the text as applicable.

Have you ever had a student come up to you after drama class or rehearsal and say, “I can’t do (xyz) that we’ve been working on. It’s too hard!” That can be difficult to hear, especially if you’ve been working on that topic or task for some time and this is the first you’re hearing about it. Is your student genuinely struggling and looking for help? Do they want you to make it easier for them? Or are they trying to give up? Here are 10 tips that can help you deal with student pushback if (or when) it arises: 1. Thank them for speaking up. It can be challenging for students to advocate for themselves. Let them know you’re glad they came to you with their concerns. 2. Have them explain the situation. Can they articulate specifically what they’re having difficulty with? Or is it a general feeling of defeat? Is this an individual problem, or does it affect other students as well? The more details the student can give you, the clearer the situation will be. 3. Ask them for potential solutions. What would they do in your situation? Can they suggest some options, or are they hoping you’ll just fix it for them? This gives you an idea of whether they want help or they just want to complain. As well, it may help you gauge how much effort they’re willing to put in to solve the issue. Are the possible solutions realistic? Are they timely? Do they affect others in any way? 4. Point out resources available to them. Do you have rehearsal videos available? Did the student ask for help from you or a classmate prior to this? Have they been practicing outside of class? Have they done the homework? In short, have they put in the work? 5. Meet them where they’re at. Can something be adjusted or simplified? For example, if they’re struggling with a piece of choreography in a dance number, can the movements be altered? (There may or may not be enough time to do so. How would it affect the other students?) Do they need a different way to look at it? Can you show them a video or article that would help them? 6. Consider the source. Is the work truly too hard or are they just complaining? What else is going on in their lives? Have any other teachers noticed similar things occurring in their classes? 7. Give them encouragement. Remind them that they can do hard things. Give specific examples if you have them. Here are 20 ways to praise your students. 8. At the same time, be honest. It’s good to pump them up but also let them know if, for example, you’ve noticed that they haven’t been using their class time effectively lately or they’ve waited until it’s too close to a deadline or show time to change something. Let them know how a change may affect the rest of the group, if it’s a group project. 9. Come up with a solution. Ultimately, you’ll both need to figure out what to do. You may be able to offer a compromise or give extra help or a new explanation, or there may not be anything you can do at that moment. The student is allowed to feel how they feel about the decision — it’s then up to them to decide how they’ll proceed. It can be a difficult pill for your student to swallow if they’re unhappy with the solution, but hopefully they can learn from the experience. 10.Don’t take it personally. You may feel frustrated or defensive if a student claims that what you’re doing is too hard, but drama class is meant to challenge students. Back up your work and take pride in what you’re teaching. Remember, you are an awesome educator!

The following exercise challenges students to take on the role of costume designer and come up with a modern look for a character from a different era. Students will learn about the character and the time period in which they lived to create a modern ensemble inspired by the traditional looks of the era. This exercise can be done individually or in pairs, and adapted for distance learning. Materials Needed: • Sketch paper and pencil • Colouring tools – pencil crayons, markers, or paints • Fashion magazines/catalogues • Scissors • Glue or tape • Box of various fabric scraps, buttons, trims, etc. • Computer with Internet access and colour printer • Poster board or binder with plastic page protectors Instructions: 1. Select a character and get to know them.Select a character from a play to design a costume for. The play must be set in a different era. Shakespearean plays and classic Greek theatre plays immediately jump to mind, but there are plenty of shows that would be applicable. Read the script and get to know the chosen character. Are there any descriptions in the text about what the character wears? What does the character do in the show that might give an idea of what they need or choose to wear? How old are they? What is their job or social status? What time of year is the play set in? Write a short biography (5-8 points) about the character that would help a costume designer think of what they would wear. 2. Research Part 1.Identify the time period that the play is set in. Learn about the traditional fashions of the era. For example, in Greek theatre, actors wear draped fabrics and masks. The style of the Renaissance era was short puffed pants with high socks, neck ruffs, and various hats, often with a feather as decoration. Create a brief written description of the clothing worn, and choose 3-5 images (such as printouts from the internet, photocopies from books, tear outs from magazines) to illustrate the clothing. Note interesting and important details that are characteristic of the era, such as fabric (types, colours, fit – tight or loose), trim (buttons, ribbons, lace, jewels – or lack thereof), or accessories (hats, belts, shoes, gloves, jewelry, masks). 3. Research Part 2.Look up images of past productions of the selected play, and focus on the chosen character. Look for “traditional” costume interpretations of the selected character that reflect the fashions of the era that students learned about in the previous step. Choose 3-5 images to represent the traditional costume interpretation of the selected character, and create a brief written description noting those particular aspects of the costumes. 4. Research Part 3.Now it’s time to get modern! Search through fashion magazines and catalogues (both print and online) and look for details in modern fashion looks that are reminiscent of historical fashions. Maybe a Prada jacket with a fancy collar is reminiscent of an Elizabethan neck ruff, or a Gucci gown has a similar shape to an Edwardian dress. It doesn’t have to be only high fashion – perhaps a celebrity photo shoot from Teen Vogue or an image of an athlete in a suit in Sports Illustrated might inspire students. Choose 3-5 inspirational images to be the basis for the costume design. Be sure to indicate in a written description the specific details of the modern fashions that are reminiscent of the outfits of the past era. 5. Design.Students will create an original sketch of their character’s modern costume. Students who aren’t the most confident artists can do a search for “design figure template.” Students will draw and colour the costume. Have students indicate and label on the sketch important details such as types of fabric, trims, notions, accessories, and shoes. Include physical pieces such as fabric swatches, or a sample button, ribbon, or trim. Note how the modern costume elements relate to the fashion of the original time, as well as how the modern costume serves the character and their needs/wants/job/social status. 6. Present.Students will collect their written pieces, images, sketch, and extra pieces, and either attach them to a poster board or assemble them into a binder with plastic page protectors. Students will present their costume design to the class. Distance learning alternatives: • Gather students on zoom and have them present their costumes. • Students can create a digital poster board and submit them. • Students can video their sketches and narrate their choices. No need for a camera; they can use their phones. 7. Reflect.Students will complete and submit a reflection, found below.

Cancelling a show is a difficult decision. There isn’t a “one answer fits all” solution – it must be handled on a case-by-case basis. As much as possible, I believe that “the show must go on.” But sometimes, that’s not possible! It’s important to keep calm and consider various solutions before deciding to cancel. Bring your cast, crew, volunteers and staff together to see if there’s a way that the show you have all worked on can go on as planned. Cancelling can mean disappointment for your students and staff. On top of that, you’ve already paid for the rights to the show and possibly sold tickets, so you must consider the financial loss as well. I have dealt with many issues that have threatened a performance, and the only two reasons in my 10+ years of working in theatre that a show has been cancelled were weather-related – heavy snow prevented us from either getting to or getting into the building. Fortunately, in both cases, it was only one performance that was cancelled, not the full run of the show. Let’s look at a few situations that have threatened to cancel a show, and what we did about them. Power OutageI have been part of at least three productions that have experienced power outages. In the case of a power outage, the first priority must be the safety of your students, staff, and audience members. In one situation, the power went out first thing in the morning, and we were unable to enter the building. We notified our audience via social media that the performance would definitely be delayed, and might be cancelled. Since it was a beautiful sunny day, our first solution was to present the performance outside, in front of the building, using a battery-operated boom box. Luckily, the power came back on, and once everyone’s safety was ensured, we performed the show in our theatre. We didn’t have to cancel, just postpone, and we only had to refund two tickets – not too bad! Illness and/or InjuryOver the years, I have had many students contact me before a show to tell me they were sick or hurt. We had to come up with creative solutions and adjustments, but each time we were able to avoid cancelling the show. Here are just a few of them: • A student with laryngitis and no voice lip-synced onstage while another student spoke and sang his lines on a microphone backstage. • An assistant stage manager went on with script-in-hand for a student who was hospitalized due to the flu. • A student with a leading role who broke her ankle in between performances went onstage on crutches, with minor changes to her blocking and choreography (as well as changing her character’s summer job from a lifeguard to a pro shop staff member). • A different student with a leading role who broke his ankle prior to performances stepped back and performed in the ensemble while an understudy learned the role in three days and went on in his place. • Many students have performed sick, and napped backstage in between scenes. • In a show that was double-cast, one student played the shared role for every performance to cover a student who was sick. UnpreparednessThis is absolutely not a reason to cancel a show, even though it’s incredibly frustrating. Having a student be so unprepared that the show is potentially compromised is disappointing and scary, as well as unfair to all the students and staff who have done their parts to make the show successful. Some of the adjustments I’ve witnessed to avoid cancellation include: • Running extra rehearsals on top of the regularly scheduled rehearsals • Switching students’ roles, or replacing an actor entirely • Cutting monologues or lines, and/or reassigning lines to other actors, while still ensuring the text makes sense • Hiding scripts in props (such as books or scrolls) • Having a prompter in the wings or backstage • Changing the direction of the show entirely, presenting it as a workshop with scripts in hand/reader’s theatre It’s not ideal to be forced to adjust your show to accommodate an unprepared student. However, if it comes down to cancelling entirely or making an adjustment, I would always err on the side of ensuring the show goes on. It’s a good lesson in humility for the unprepared student, and a cautionary lesson for the rest of the cast.

We reached out to you, our amazing community, through social media to ask, What are your biggest props/costume challenges for your productions or upcoming show?.Turns out, there are lots of challenges that drama teachers are facing when it comes to props and costumes! Here are just a few of the concerns that came up, with some suggestions for dealing with these issues. 1. Dealing with those crucial, yet difficult, costumes or props that are specific to a particular show.There is always something that is absolutely necessary to the plot of the show that is a royal pain in the butt to try and create or acquire – either it’s super-expensive, technically difficult, or just really hard to find. Some of the challenges mentioned included acquiring the printing press and loads of newspapers in Newsies, finding sardines and fishing lures (without hooks) for Noises Off, and creating an amulet that lights up and that the actor can control (possibly for a show like The Little Mermaid or Peter and the Starcatcher). • For these crucial items, make it the highest priority to get them taken care of early. Don’t leave these items until the last minute to try and find. • Search out other productions and see what they did with that specific prop or costume and how. For example, for the light-up amulet, I have seen similar items made out of a battery-operated tea light or lit up with a flashlight. Try posting on a theatrical message board or Facebook group (like the Theatrefolk Facebook page!) to see if other directors have ideas or creative solutions. • Sometimes talking to friends or other teachers not associated with the production can help to gain a new perspective or great idea for creating or acquiring a particular item. They also might have a connection that you weren’t aware of. For example, a friend of mine was directing The Music Man and was having a tough time finding the matching band uniforms. I just happened to know a friend of my mother’s who is associated with our local university’s marching band. I was able to make a connection between the director and the marching band leader, who was willing to rent the items out for the production. You never know where a connection could occur. • Try Getting Other Departments Involved in Your Production. Again, your colleagues and other students at your school can be great resources for new, fresh ideas. 2. Dealing with soooooo many costume changes!Some shows have what seems like hundreds of costume changes, which creates a whole host of issues: finding/creating/acquiring all the costumes, staying on budget, storing the costumes during the run of the show, and general chaos in the backstage area. Consider the following: • See if there are costume items that can be worn layered for faster changes. • Could you go deliberately minimalistic and have your students wear a set of basics (for example, a black shirt and black pants and add/remove items as needed? • Don’t feel that you need to change every single item for a costume change to be effective. Sometimes just changing a hat, jacket, jewelry, or other accessories can make all the difference. • Be sure that every item backstage is labeled with the name of the student who wears the piece. • Arrange students’ costumes so that those with the most or fastest changes have quick and easy access to their stuff – i.e., put their costumes nearest to the stage. • Rehearse any difficult or particularly fast changes as part of your standard run-throughs of the show. Have extra costume team members or assistant stage managers available to act as dressers and help with quick changes. • Start working with costumes early and do as many costume run-throughs of your show as possible so students can be organized and familiar with their costume items. 3. Needing to get period costumes and props for low- to no-budget productions.We’ve got you covered! Check out these articles from the Theatrefolk blog for help: • Props on a Budget: A Resource Guide • 3 Tips: How to Stage a Show on a Small Budget • Small Budgets: Doing so Much with so Little in a Drama Program • How to Effectively Communicate with Rental Sources • Using One Item to Show Character

Do you consider yourself a theatrical specialist with one definite focus? Or are you more the multi-passionate type? I certainly don’t ascribe to the “jack of all trades, master of none” train of thought. I believe that taking a chance and trying out a new area helps you to become that much more knowledgeable, creative, useful, and appreciative in the theatre world. Teachers, encouraging your students to try new theatrical areas can really help to grow your drama program. The more students you have available with different experiences and skills, the better. Plus, they can reach out to other students, to help lead and mentor them for future productions. Having volunteer experience in different theatrical areas could help your students if they decide to apply for post-secondary education. But it’s also important for teachers to try new theatrical areas as well! Teachers must always continue to grow and develop their skills in order to educate and guide their students in the ways of the ever-changing theatrical world. So, teachers and students alike, I challenge you to try out a new theatrical area this year. If you have students who are normally technicians, encourage them audition to be part of the cast. If you are a director, try set-design. If you are a props maker, try operating the lighting board. If you are a choreographer, try designing the program or the show poster. Here are three reasons you should try a new theatrical area: 1. Grow your skill set and develop an appreciation for the hard work of othersThe more skills you have, the more you can contribute to a theatrical production and the more opportunities can become available to you. You never know where your theatrical journey will take you. And who knows, you might find a new passion! Trying new theatrical areas also gives you a greater appreciation of how hard other departments work. It takes a variety of talented people to make a show happen, and being able to understand and appreciate the time and talents of others only makes you a better theatrical leader. This also gives you the opportunity to then pass along your knowledge to others and help to develop a new crop of theatre people. For example, my primary focus in my youth was acting. I even wrote in my eighth grade yearbook that my goal for the future was to become a professional actress. While that didn’t pan out, I still act at the community level, and acting did lead to my love of stage combat, which led me to training to become a fight director. After I graduated from university, I worked at a summer theatre camp, which gave me the opportunity to direct and start teaching. It’s especially wonderful when you see and hear your students going on to do wonderful things in the world of theatre (and beyond) in lots of different areas, and how they’ve applied their learning beyond the classroom. It has all come around full circle, and it’s been a lot of fun! 2. Challenge yourselfYou might think you’re not crafty or tech-savvy, or that you don’t have the proper background or all the knowledge you should have. But be open to learning. Just try it and see what happens. You don’t have to jump immediately to heading a department. Start small. Join a backstage team and work with people who are experienced. Find a teacher or mentor, check out YouTube tutorials, find books on the subject, and read theatre blogs (like this one!). Last year, my friend offered me the opportunity to be the dance choreographer for her show, which I took on even though I was terrified. I love to dance and I have taken lessons on and off over the years, but I do not have the dance vocabulary or extensive dance background that most choreographers have. I’m so glad I took the chance though – I had a blast! I still have lots of room to grow and I hope I get the opportunity to choreograph another show in the future. 3. Demonstrate life-long learning to your studentsIt’s okay to be new at things. I think that many teachers struggle with this. We expect ourselves to know everything and to have all the answers. But that puts a lot of stress and pressure on us. Everyone was once a beginner at everything they do, and everyone has to learn somehow. We ask our students to try new things every class, to be brave, to put themselves out there. Let’s lead by example and demonstrate bravery to our students. If you are taking on a new area in your current production, share your growth with your students and reflect on your learning. Discuss challenges that you’ve had and listen to your students’ suggestions (e.g. “Here’s what I did. Does anyone have suggestions of how this could have been done differently or better?”). Demonstrating vulnerability and the concept that adults are always learning, making mistakes, and growing from those mistakes is so valuable for students to see. Learning doesn’t end once school is done. If you do try a new theatrical area this year, drop us a line and let us know how it went. What were your challenges and triumphs? What did you learn?

It’s never a question of “if” something will go wrong during a theatrical production…it’s completely a case of “when” something will go wrong! But when things do inevitably go wrong, will you and your students panic or persevere? Here are four common production challenges, rapid-fire style, with suggested solutions. 1. Your budget is not nearly big enough for the grand ideas in your brain (or, you’ve already over-spent your budget).• If your budget isn’t big enough, you’re either going to have to figure out ways to save money, or start figuring out ways to drum up more funds. • Contact other schools in the area to see if they have costumes, props, or set pieces they’d be willing to loan. • Get a local business to sponsor your production. • Have your students brainstorm a creative way to raise some funds for the show – a bake sale, a karaoke event, a show merchandise sale, an auction? • Rather than purchase new, see if there are items in your department’s props and costume stocks that could be repurposed, repainted, redecorated, or resized. • Think creatively – if you could have only ONE fantastic theatrical focus, what is your priority? Costumes, sets, technology? For example: Would you rather have your actors in fabulous costumes on a bare stage, or have the latest lighting instruments and gobos with actors in basic blacks? 2. Props and costumes seem to vanish, or they mysteriously get broken.• Remember the most important rule: If it’s not yours, don’t touch it! • Establish clear rules and consequences for not taking care of items. For example: If a costume piece is found on the floor, the actor must pay a fine of 50 cents or do 10 push-ups to “buy” it back. • Make a rule that nobody leaves after the show until the backstage is tidy and all props and costume items are neatly put away. • Have clearly marked areas for each actor’s costume(s) and each prop. Ensure that actors and crew members are putting each prop and costume item away carefully when they aren’t using them, not just tossing items on the props table haphazardly or leaving a trail of costume pieces all over the place. (This will ensure that everyone can leave on time, since you’ve established the above rule.) • Have backup prop items available, especially for fragile or consumable props. • Assign a costume and props head crew member to oversee the storage and care of each costume and prop item. • Check out this post (Backstage Blues: How to Deal with a Messy Cast) for more solutions. 3. A tech disaster arises – your lights/mics/sound equipment stop working.• Preemptive idea: Have a clear, step-by-step list near each item indicating the proper method of using and caring for each piece of equipment. Bonus points if you put together a troubleshooting manual or list as well. • Try to assess the situation as calmly as possible and figure out the reason for the failure. • Ensure that the cast, crew, and audience are safe. For example: If the reason for a power outage is a storm, take all necessary precautions to ensure everyone’s safety. • If you have technical issues during a rehearsal, look at it as a great learning experience (like a real life “What If” game). What would you and your students do to keep the show going? • If the technical issues occur before or during a show, remember: The show must go on. • If you are producing a musical, have a backup CD with karaoke tracks and a battery-operated boom box available in case the sound equipment fails. Or have the students sing a cappella. • Can you get backup lighting equipment or found lighting (such as flashlights, floodlights, etc.)? Can you just turn on the work lights or house lights and continue with the performance? • Can you move the performance to another room/venu or outside? • Work with your students to practice projecting their voices, even if they are using microphones (a thin, wispy voice will still sound thin and wispy when using a mic). This way, if a mic fails or the battery dies, you’ll still be able to hear them. 4. Your ticket pre-sales are terrible.• Get into publicity mode! How can you drum up more interest? Check out this post (10 Ways to Publicize Your Show) for some ideas. • Offer a ticket deal – BOGO, student rush, one-weekend-only deal, coupon code, a ticket contest… • Start a social media contest with your cast and crew – challenge each student to come up with a creative post on their choice of social media channel (Facebook, Instagram, Twitter, YouTube, etc.) to advertise your show. • If you notify your audience that one of your performances is close to selling out (or even has significantly fewer tickets remaining), it spurs them on to buy their tickets because they’re afraid the rest of the run will sell out too. (Such as “Only ____ seats remaining for Saturday’s matinee performance!” or “Limited availability for the April 28th performance of _______.”)

Our next casting challenge is the exact opposite of our last post. What happens when you have fewer actors than named parts in the script? This can be a great acting challenge for students, as it will entail some of them taking on multiple roles in the same show. But it can get quite busy and complicated trying to keep their various character tracks and costume changes straight! Here are some suggestions for casting a show with fewer actors than named roles: • Search for creative doubling opportunities. See what characters could logically be played by one person. • Look for characters who only appear in Act One vs. Act Two. • Look for characters that only appear in one scene and then don’t come back. • Combine a group of similar roles into one role. For example, if your show has a big group of servants, all the servant roles become one single “Servant.” • Reassign lines to other characters , if it can be done and still make sense. For example, I directed a show where we had three “bad guys” and one of the three actors dropped out of the show two weeks before the show opened. We weren’t able to get a replacement, so we took that actor’s lines and dispersed them between the two remaining “bad guys.” (Don’t forget–you must always get permission from the playwright before making changes to the script!) • Creative quick-changes. Can students change costumes to become another character? Oftentimes a hat or jacket can make a big difference. But even without a costume change, this is a great chance for students to focus on really changing physicalities, voices, and mannerisms between characters! Two examples of this are the musical The Toxic Avenger and the play The 39 Steps, where casts of five and four actors (respectively) play a huge multitude of parts, often in the same scene! In The Toxic Avenger, there is even a song where one actress who plays two different roles sings a duet between those two characters–at the same time! • Consider cross-gender casting. Nine times out of ten you will have more girls than boys auditioning for shows. If you have an overabundance of girls, can a female actor play any of the roles? (Be sure to decide whether or not the girl will be playing a boy role as a boy, or if the character will be changed into a female– i.e. Simon becomes Simone, etc.) ExerciseThe following exercise challenges students to cast a show using their classmates, and then forces students to figure out how to recast the show when their classmates are taken away! Have each student complete this exercise individually. 1. Select a play or musical that the class will use for the basis of this exercise. (If you are already studying a particular production in class, so much the better.) If possible, select a play or musical with approximately the same number of named roles as there are students in the class. 2. Individually, students will cast the play using the dramatis personae (character list) in the script. They will also use their knowledge of the play itself and their classmates’ skills and dramatic ability. Students should include themselves on their cast list. 3. Once students have completed their lists, the teacher will put each student’s name on a slip of paper, and put the slips into a hat. The teacher will then draw out 25% of the slips of paper. For example, for a class of 20 students, five names will be drawn. These students now cannot be cast in the show. 4. Students must go back to their lists and create a second list, recasting their show without those five students in the mix. How will they reassign roles? 5. Students will note the reasons for their recasting choices below their second list. For example: “Jamie will now play the roles of both Ms. Carling and Miss Jones, because Ms. Carling only appears in Act 1 and Miss Jones only appears in Act 2.” 6. Then, after students have recast their show with one quarter fewer actors, the teacher will draw out 25% more names (going back to our first example, in the class of 20, now only ten names will be remaining). Now these students also cannot be cast in the show. 7. Students will go back to their second list and create a third list, recasting the show with only half the number of actors they originally had. Again, they must note the reasons for the recasting below their third list. 8. Students can get as creative as they wish for doubling and ensuring all the roles are covered. Depending on which students’ names get pulled out of the hat, you may end up with too many students of one gender–perhaps “Lord Smythe” becomes “Lady Smythe,” or perhaps a girl just ends up playing a male role. Maybe one student has a scene where he performs all the characters by himself, or perhaps another student plays every single “one-off” role themselves, with a multitude of quick-changes! The students’ intended casting will end up very different than what they originally intended. But as they say, “the show must go on!” 9. Once students have completed all three lists (including creative solutions for casting challenges), they will complete a reflection and submit all four pieces for evaluation.

Imagine this: You’ve just completed your audition for the school production. You’re feeling really confident and happy with your performance. You can’t wait to find out who is going to be playing what role. But wait! It turns out that sometimes there’s an extra step before casting is released–the callbacks! A callback is an invitation to the actor, from the director of a show, to take the next step down the audition path. It means that the director has seen something in an actor that they liked and wants to see them again. Callbacks can be extremely useful in casting a show, but they aren’t always necessary for every production. Are you considering having callbacks for your next school production? Here are some pros and cons to consider. PROSCallbacks give you a chance to see students again.Depending on how many students audition, it can be difficult to make casting decisions based on one short interaction with them. Also, some kids don’t always give the strongest audition performances, despite their talent. Having callbacks gives you the opportunity to see students perform again, often in a different situation. Callbacks can consist of reading from the script, presenting different audition pieces, a dance or movement exercise, improvisation–whatever works best for your production. Callbacks can confirm or alter your casting decisions.Here’s a scenario: You think that Maya is perfect for a certain role in your show. She’s a senior, has lots of experience, and is a confident performer. But then Katie really surprised you with her audition. She’s only in grade 10 but she really worked hard and you can see a spark there. Calling both students back can give you more focused time with them and help you to make that tough choice. Have students read the same scene and see how their performances stack up. Callbacks can help to check chemistry between students.Lots of shows have character pairings that are integral to the plot of the show, like romantic relationships, family members, or even rivals. Callbacks can give you the chance to try different pairings to see what works well. Try having different pairs read scenes together, and then mix up the pairings and try them again. You’ll have a clearer vision of what pairings work well (or, don’t work at all!). Callbacks can assess the dedication of the students involved.Callbacks are a great way to gauge students’ attitudes and how committed they are to the project. Are they willing to spend another day trying to get the part? Are they happy to have gotten called back, or are they upset that they weren’t given the part outright? Are they organized enough to get themselves to the callback? Have they taken steps to prepare for the callback? CONSCallbacks take more time out of your schedule.If you do decide to hold callbacks, you will need to plan ahead. You will have to arrange another date to hold the callbacks, and ensure you have a venue or location booked. If you need scenes or sides, you’ll have to prepare them in advance. You will also have to decide what course of action you will take if a student you’d like to call back cannot attend the callback session. Will you arrange an alternate time to see them, or will that take them out of the running? Callbacks can be the cause of emotional rollercoasters for your students.There are many emotional responses your students might feel in regards to callbacks: • If they get called back and then don’t get “that” part they had their heart set on. • If they get called back but then don’t get any part. (I have heard of this happening–you will need to be very upfront with your students on whether or not a callback guarantees a role.) • If they don’t get called back at all–does this mean that they are in the show or not? (Some teachers may choose to only call back for some roles but not others–again, be clear with your students on whether a callback means they’re in or not. The most important thing to remember is…The most important thing to remember when dealing with callbacks is to be very clear with your students. What do callbacks mean? When and where will callbacks be? What should students expect to do at the callbacks? Do they need to prepare anything in advance? Are you calling back for all roles or just some? Does getting a callback guarantee a role? If you don’t get a callback, does that mean the student is even in the show? The more information you can provide your students, the easier callbacks will be for everyone involved! Kerry Hishon is a director, actor, writer, and stage combatant from London, Ontario, Canada. View her blog at www.kerryhishon.com.

Student actors are frequently cast into a role that is totally outside their comfort zone. They might have to portray someone completely different than themselves, with radically different beliefs or ethics. Characters often make actions that make actors cringe – anything from fighting onstage (when they’ve never picked up a sword in their life) to kissing someone (when they barely know their scene partner). Their character might be much older or younger than them, from a very different social class or background, or deal with problems that the student might have never even thought of. Teachers, if you are working with students and you notice that they are having trouble dealing with difficult characters in class or in the show they’re working on, here are three tips that speak directly to students which can help alleviate their concerns. Tip 1: Remember that you were cast into this role for a reason.There are a multitude of reasons why your teacher or director cast you into the role you’re playing: • To challenge you. • To give you experience playing a character you don’t normally get to play. • To push you outside of your comfort zone. • To improve your acting skills. • To give you insights on a character that is very different from you. Your teacher has faith in your skills; otherwise, they wouldn’t have cast you into the role. They feel you can handle it. Believe them! Tip 2: Speak up — sooner, rather than later.Talk to your teacher or director. If it’s something morally, ethically, or safety-wise that you have an issue with, you need to talk to your teacher immediately — preferably before you rehearse the scene. Be prepared to clearly express your concern, and why you’re concerned. It might be possible to make an accommodation – for example, if it’s a stage combat move that you feel unsafe doing, maybe the choreography could be changed to make it safer. If what you’ve been asked to do is not morally objectionable or unsafe, just embarrassing to you – still speak up! If your teacher doesn’t know about your concerns, then they can’t do anything about it. If you wait too long to say anything, it will be too late. Your teacher may be able to adjust the scene, but know that they may not be able to, or won’t. You may have to suck it up and do it, or risk being removed from that particular scene or re-cast into a different role. Tip 3: Your character is not “you.”Remember: it’s called acting! Your job as an actor is to portray the character you’ve been cast to play. Remember that it’s not “YOU” up on stage, it’s “Romeo” or “Miss Jackson” or “Kate.” Separate yourself from your character. Your character is the one expressing their thoughts and completing the tasks that help them get closer to their goals, not you. Your friends and family coming to the show are not reacting to you, they are reacting to the situations your character is in. Make a list with two columns. On one side, write your character’s name. On the other side, write your name. Under your character’s name, write down thoughts, traits, and actions that the character does. Then under your own name, write down how you would react if you were in the same situation, or your thoughts, traits, and actions in comparison to your character’s. Are they similar or different? Most likely, a challenging character will be different from you, and that’s the point! Above all, be brave. There are so many people who wouldn’t even dream of walking out on a stage, let alone memorize lines, sing and dance, or have to do something embarrassing up there – in front of an audience, no less! In taking a drama class, auditioning for a play, or performing in a competition, you are an actor and you have already made a major achievement by putting yourself out there. So take the next step! Push yourself outside of your comfort zone, trust your skills, and (as Nike’s slogan says) “just do it!” Believe me, you will impress everyone with your dedicated performance!

How do you get students to work together in a creation? Try this pre-exercise to have students practice collaborating to make a finished product. It’s an exercise that has been around for years but the instructions have always been the same. The Challenge:• Divide students into groups of four • Give each group 18 minutes to build the tallest freestanding structure • Supplies include: • 20 sticks of uncooked spaghetti • masking tape • string • a single marshmallow. • See who finishes with the tallest structure. Why This Exercise WorksThe time limit is important because it forces students to collaborate quickly. The competition aspect is also important as it pushes groups to work at their best. This exercise will let you know really quickly how adept your students are at working together quickly. Some may get too frustrated to complete the challenge. Some may turn into leaders. Some may refuse to collaborate at all. How does all of this impact the group dynamic? This type of exercise will also tell you about students' self-management skills: • How do they manage their time? • How well do they stay on task? • Do they distract easily? • Do they distract others? These are all good things to know before you take on a collaborative theatrical project. ReflectionDiscuss the exercise afterward. How did your group work together? How did students feel about the time limit? How well did they work under pressure? Were they able to work together? Why or why not? Want to Take It Further? Want to take it further and perhaps down a more theatrical path? Get students to build a marshmallow set. Give them the same parameters, work with unlikely materials within an 18-minute time frame, and see what they create.