Directing

Have you ever had a student who’s a natural leader and has a knack for staging? Or maybe a student who isn’t comfortable in the spotlight but loves the creative process? These could be your budding student directors, and giving them the tools to step into this role can be an amazing growth opportunity — for them and your program. Why Student Directors MatterCreating student directors isn’t just about making your life easier (though it does help!). It builds: • Leadership skills • Collaboration & communication • Creative thinking & problem solving • A deeper appreciation for all aspects of theatre Plus, student-directed scenes or one-acts can be an exciting addition to your drama program. Consider the following for your student directors and set them up for success. 1. Start with the basics.Before a student steps into the director’s chair, they need to understand what a theatre director actually does. • Break down the role. Explain that directing isn’t just “telling people what to do”; it’s about vision, visualization, storytelling, and collaboration. • Discuss responsibilities. These include choosing a concept, blocking scenes, working with actors, and overseeing technical elements. • Share examples. Show behind-the-scenes clips or interviews with directors to illustrate how they think and work. 2. Teach them how to read a script like a director.Directors need to know how to analyze a script and use that analysis to visualize the play (taking words on the page and making them three-dimensional through stage pictures, character journeys, and action), and create a vision. In theatrical terms, a vision is a concept, an interpretation. The vision is going to shape the look and feel of the play. A vision is something that can be communicated to every department to give the production a cohesive look. It’s going to affect how the audience responds to the play. A vision is what makes a director’s take on the play unique. It all starts with the script. Show your student directors how to read a script to: • Look for themes and tone: • Ask students to read a script, determine the main themes of the play, identify their point of view on those themes, and then consider how they will visualize their point of view. • Based on the above work, ask students to come up with a one-sentence vision statement. How do they interpret the play? • Do this several times. Get students in the habit of visualizing and creating a vision. • Identify character arcs: • What journey does the character go on in the play? Where do they start and where do they finish? How does the character arc connect to your vision of the play? You want to be able to communicate that connection to actors so that any character development work they do will match your vision. • Ask students to read the same script as above and write out the journey of the main character. How does this character’s journey match your vision? • Highlight key beats in each scene: • Identifying beats in a scene is known as scoring. To score a scene is to mark the moments in which a character’s action/tactics change. • A director needs to know this to help block the action, identify the pace in a scene, and solidify character journeys. It all comes back to visualization. • Take one scene in the above script. Ask students to score the scene and then use that scoring to come up with blocking suggestions. Bonus Exercise: Watch three movies by well-known directors with varying styles: Steven Spielberg, Tim Burton, and Alfred Hitchcock, for example. Watch the movies with a director’s eye. What is the director’s vision? What is the theme of the movie, what is the director’s point of view, and how has that been visualized? Compare and contrast the three directors. 3. Let them start small.Give student directors a low-pressure directing opportunity: • Direct a scene or monologue. A quick, one-page scene is a perfect starting point. • Lead a warm-up or theatre game. It helps them practice giving clear instructions and managing a group. • Assist YOU. Have them shadow you during a rehearsal to see how you guide actors and make decisions. The goal is to build their confidence in small steps. 4. Emphasize communication & collaboration.Student directors often think they have to “be the boss.” There is a difference between leadership and being bossy. Teach them that great directors: • Ask questions instead of giving orders. • Listen to actors’ ideas. • Give feedback that’s kind and constructive. Exercise: Role-play common directing scenarios in which directors have to deal with different types of actors so they can practice how to talk to actors in a way that motivates instead of intimidates. 5. Encourage creative problem solving.Things will go wrong — that set piece you really wanted can’t be built, an actor isn’t presenting their character in line with your vision, blocking doesn’t work. Challenge your student directors to figure out ways to solve different problems. This helps them develop flexibility and resilience — key directing skills. • Come up with practice scenarios in which student directors can brainstorm solutions. If you can’t have a couch for this scene, what could you use instead? or How can you further communicate your vision to an actor? or Is there another way to physically show tension in the scene? 6. Give them real responsibility.When they’re ready, let them direct a short play or festival piece with your mentorship. They’ll learn the most by doing it. Be clear about: • Deadlines • Expectations • How you’ll support them and when you’ll step back 7. Reflect & celebrate.After the experience, take time to reflect together. Celebrate their effort and growth. Even if it wasn’t perfect, they took on a huge challenge! • What worked well? • What was harder than expected? • What would they do differently next time? • Do they think they have the skill set to be a director? Why or why not? Additional Reading Exercise: Problem-Solving for Student Directors Seven Tips for Student Directors in the Classroom Theatrefolk’s Top 10: Plays for Student Directors Student Directing: Working With Your Peers

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?

Having additional personnel working on a school production can be incredibly helpful. Co-director, associate director, assistant director, director’s assistant, artistic associate — they’re all different titles with different levels of involvement, leadership, and decision-making capabilities, and when used effectively, can really help to ease your workload. On a musical, they may double as the choreographer or musical director, or they may be in a separate position. The key to employing someone in this type of role is clear communication; otherwise, having an additional staff member can cause more issues rather than solve them. Here are some discussion points to consider when you’re working with an additional director. PURPOSE: To start, establish the purpose and responsibilities of the additional team member. Are you looking to have another adult around to supervise and lead rehearsals (especially when you’re working with large groups of students? Are you looking for someone to cover rehearsals while you’re away? Do you want to double up on rehearsal plans and have a small group of students working in one room with one director while you work with others in a different room? Are you looking to mentor a new director to take over the responsibility of running the school show? Conversely, do you expect them to take the lead on directing the production while you act in a supervisory role? Will you expect them to take on any administrative or producing tasks, such as budgeting, scheduling, or discipline, or are their contributions strictly artistic in nature? EXPECTATIONS: You also need to know what the additional team member’s desires and expectations are for their involvement in the show. Are they a new director wanting to gain experience, grow their skills, and build their resume? Are they an experienced teacher or director looking to move into a new role or job? Are they hoping to direct scenes for the show or learn by observing and shadowing you? Do they want to take over parts of being a “do it all director” to ease your load, such as create a lighting plan or design costumes or sets? Will they be responsible for a specific task during the show run, such as operating lights or sound, being backstage as an ASM, or calling the show? What do they hope to get out of the process? Do their expectations line up with yours? TITLE: What will their official title be? There are some perceived discrepancies between the various titles. Co-director implies that there are two directors of equal power, with equal decision-making privileges. The difference between associate and assistant director is less clear-cut — which is considered a higher-level role, especially if you have both an associate and an assistant. Will you also have a student assistant director, and if so, who does what during rehearsals and showtime? A director’s assistant is a non-artistic role. This person’s job is to help the director with tasks such as photocopying, running errands, liaising with others, and additional tasks as required. ARTISTIC INPUT: How much artistic input will they be allowed to give? Do they get to give ideas about the overall concept or aesthetic of the production? Will they direct full scenes or sequences, or help with aspects such as character development, line memorization, or technical acting elements such as vocal projection and diction? Are they allowed to give notes? Can they veto your artistic choices, or can you veto theirs? Who gets the ultimate say in artistic decisions? TIME COMMITMENT and COMPENSATION: What is their time commitment? Are they full-time or part-time? Are they going to come to all rehearsals or just the ones on Mondays and Wednesdays? Or are they not available on Thursdays after school? Will this affect their title designation? On top of that, do you have an available budget to pay for this person’s time, or is this role a volunteer position? Be sure to make this aspect of the role clear to the candidate, because it will affect whether or not they are willing to commit to the position and how much effort they may expend on the show. VIBE CHECK: Have you worked with this person before, and if so, in what capacity? Do you get along with them? What assets do they possess that will help the production? How do they react in stressful situations? Do they know and/or get along with any additional team members you have on the show? Do they know the students? If they aren’t a teacher at your school, have they worked with students before? Do you need to fill out any paperwork before they start working on your show? Do they need to submit any accreditation or complete a background check prior to working with your students? Will they benefit the production process or create more work?

There are a variety of styles when it comes to taking the helm of a production. Which type of director are you? Which suits your students best? ‘Do as I say’ — The DictatorThis type of director has a very specific (and occasionally narrow) view of how the process will unfold; they’re not looking for input. Rehearsals are well-defined, blocking is well-thought-out, the vision is tightly managed. The actor in the dictator-directed show does not get many opportunities to offer suggestions. Does this help or hurt students? Sometimes students need specific and narrow direction. When you’re working on a full-length play and you’re running out of time, your lead is sick, and your ensemble can’t remember the blocking, specific and narrow direction is a necessity. In this context, “dictator” doesn’t mean cruel! I have seen dictator directors succeed in high school scenarios. Having said that, I’m never fond of the ‘no input at any time from anyone’ scenario. ‘Let’s make it up together!’ — The ImproviserThis type of director comes to rehearsal with little to no blocking, and few notes, but a lot of ideas. They are keen on collaborating with the cast. They improvise scenes between characters, have actors improvise blocking, and use plenty of exercises. Everything evolves and changes over the course of rehearsal. The input of the actor is key to the success of the Improviser Director. Does this help or hurt students? Depends on the students. If your group has a lot of practice at improv, it might work as a wonderful transition into something more structured. It can be a thrilling experience for actors and directors, as everyone works together in the creative process. As an actor I’ve been in amazing shows using this process… and also some that were less than amazing. Everyone needs to be on the same page and willing to do the same amount of work. You can run into trouble when you have an imbalanced cast. As a director, my experience has been that throwing students into an improv situation can be hit or miss. Great if they’re independent, but not so great if they’re not. Issues also occur when the Improv Director can’t corral the creativity and move toward a completed product. Messy process doesn’t help anyone, and rehearsal can run in circles. In a high school, the Improv Director always needs a ‘Plan B.’ ‘Let’s be creative, but I’m the boss.’ — The VisionaryThis type of director enjoys the creative process, and wants to hear from actors, but ultimately is the one in control of the production. The best type of Visionary is able to effectively communicate their vision and bring everyone on board, so they don’t have to ‘be boss.’ Everyone moves toward the director’s vision on their own steam. They bring their own ideas to serve the big picture. Does this help or hurt students? Creativity within a structure can be amazing. Problems usually occur when the director is inconsistent. You can’t ask for input from actors, then shut them off and refuse to implement their ideas. It’s a fast way to lose their trust. Problems can also happen when the director is wishy-washy in their communication of the vision. An actor can’t create effectively within your vision if they don’t fully understand it. ‘Fight me!’ — The PusherThis type of director thrives on confrontation. They feel, rightly or wrongly, that the only way to get the right reaction out of a character is to push the actor. This can happen in a positive manner through question and discussion. The best Pusher doesn’t mind when an actor disagrees or pushes back. But unfortunately, Pushers can stretch actors too far. Does this help or hurt students? There’s nothing wrong with encouraging a student to move beyond their comfort zone. There’s also nothing wrong with debate over a character or a moment. That can be an exciting part of the process. But pushing students emotionally just to get a certain type of performance is hurtful and unnecessary. What’s the “best” type?So which is the best? Which is the worst? Depends on your students. A little bit of each type of director, depending on the play and the situation, may bring out the best in everyone.

This article was inspired by a situation that happened to me. Recently, I was directing a production of Disney’s Descendants: The Musical with a cast of 23 amazing students in grades 8, 9, and 10. I had been waiting to direct this show for two years — it was originally planned to run in the fall of 2020, but got postponed multiple times due to the pandemic. I was feeling run-down during tech week, which I chalked up to pre-run jitters and being out of practice for directing in person (I had directed two virtual shows in the meantime). However, I woke up on the morning of opening feeling awful. One rapid test later confirmed that I had Covid-19. What horrible timing. I had to miss the entire run of the show, which was incredibly disappointing. While it was an upsetting and stressful situation, I was fortunate to have an amazing creative team and supportive administrators who were able to jump in at the last minute to supervise the students and ensure the show went on as smoothly as possible. Nobody wants to anticipate being sick or absent, but having a bit of advance preparation in your pocket will reduce stress should the worst occur. Here are some tips: 1. Know your school’s supervision policies ahead of time.Learn your school’s policies for instructor absences in advance. They may vary depending on whether the production is class-related or an extracurricular activity. Who will supervise your students if you’re absent? Does it need to be an administrator or another teacher from the school? Could it be a parent volunteer? If you have hired a team member (such as a musical director or choreographer) who isn’t a teacher but is an adult, are they allowed to supervise? There also may be different considerations depending on when the performance is. For example, an evening or weekend performance versus a matinee during school hours. Knowing these policies in advance can help you make plans and avoid having to cancel a performance due to lack of supervision. 2. Lean on your teammates.Try not to be the only adult in charge throughout the whole process. If you’re directing a musical, you’re probably working with a musical director and choreographer who can take charge during the run of the show. But it’s not uncommon for the director to be the main (or only) adult in the room most of the time. Of course, it’s great to have lots of student leaders working on your show (including assistant directors, stage managers, backstage assistants, and technicians), and they can take the lead on making sure the show goes as planned. But while your students can run the show, they can’t supervise each other, even if they’re legally old enough to. Having additional adults involved in your production can reduce your stress load (which will prevent you from getting run down and possibly sick) and ensure that teacher-led responsibilities, such as locking up or adjusting the thermostat, are taken care of. It might be useful to make a checklist with these tasks on it, so the supervisor who will be filling in for you will know what to do and how to do it. 3. Establish a routine.Establishing a pre-show routine will help your students maintain some normalcy while you’re away. If possible, have students lead the routine — even when you’re well. It’ll be one less thing on your to-do list, it gives students leadership opportunities, and it gives them ownership over the pre-show process. 4. Communicate with and trust your students.While you’ve no doubt contacted your administrators and team members, you should also let your students know that you won’t be there with as much advance notice as possible. Don’t surprise them at call time by letting someone else share the news. You don’t need to give them all the details, just a brief message with any notes, to-dos, and words of encouragement. That way, they’ll be able to deal with the stress ahead of time, so they can focus on the performance. Trust that they’ll continue to give their best efforts during the run of the show, even without you physically present. During the rehearsal process, you might want to play the “What If” game to have students work on problem solving skills and see how they might react in a stressful situation. 5. Take care of yourself.While getting sick may have been inevitable, I know that pushing myself beyond my limits didn’t help. Engaging in self-care practices would have helped reduce my stress and may have helped me recover faster. Here are some resources from our blog: • Drama Teacher Self-Care (And No, We Don’t Mean Candles and Bubble Baths) • 20 Self-Care Actions for Drama Teachers • 12 Days of Drama Teacher Self-Care

If you miss doing shows with your students, you’re not alone. We’re all missing live theatre! Luckily, there are playwrights writing virtual plays for online platforms that you can do right now. Check out the available shows in the Theatrefolk catalogue. While you’re at it, check out the following lessons I learned while directing my first virtual show. I hope they help you on your virtual show journey! Know the rules.Be aware when you’re selecting your show that different theatrical rights companies have different rules and requirements for streaming online shows. Some companies require you to use a particular streaming and/or ticketing platform. Some companies allow you to purchase “on demand” tickets (meaning audiences can watch the show at their leisure), while others only allow performances to be streamed at a particular time (like going to the theatre for real, so if you miss the streaming time, you’re out of luck). Some companies also don’t allow their shows to be presented online at all. Be sure to check all the requirements before you select a show to produce, and contact the company with any questions ahead of time so you don’t risk disappointment — both your own and your students’. Zoom fatigue is real.Try to keep virtual show rehearsals shorter than you would when rehearsing a show in person. I found that two hours was my limit for being able to focus during rehearsal. It’s hard to feel a true connection when rehearsing online, and you will likely have to use even more energy than you usually do because your students are tired too. To combat this, let your students know in advance what you’ll be rehearsing at each rehearsal and encourage them to familiarize themselves with the scene and their lines ahead of time. This doesn’t mean they need to be off-book before you’ve blocked the scene, but they shouldn’t be wasting time reading their lines for the first time during rehearsal. (This goes for in-person rehearsals as well, but it’s extra important when you have limited rehearsal time and waning focus.) Mix up what you’re working on — call smaller groups to rehearse shorter scenes for a shorter amount of time when you can, to break up the time and keep your mind fresh. Record footage as you go.Have clear deadlines in place for students to record and submit their footage at home. When I directed She Kills Monsters: Virtual Realms, we rehearsed on Thursdays and Saturdays, and the scenes that were rehearsed that week were due to me by the following Wednesday. Recording and uploading footage as you go makes things much easier. It reduces stress on students, because they won’t have a huge backlog of footage to record all at once. As well, if there are any issues with the recording (volume problems, incomplete footage, recording portrait rather than landscape, etc.), there will be time for students to re-record the footage. Make sure your final due date for all footage (no matter what) allows plenty of time for the final project to be submitted to your streaming service. Allow yourself plenty of time to work on the footage, so you aren’t editing for 24 hours straight the day before the show is due. Allow yourself some wiggle room to submit the final project as well in case of technical issues with your editing software or Internet service. On the topic of editing:If you can, hire an editor to piece the audio and video footage together. It is time-consuming, tedious work, and it will be one less thing on your plate. Do you have a student who is keen to take on the project for extra credit? Volume and diction is important.Students still need to project their voices when they’re performing for the camera. Many students think that because they’re close to their device and alone in a room that they can speak in their “regular” tone. While they aren’t in the theatre and having to make sure the entire audience can hear them, volume and diction is still important. There are many things that can affect sound levels when recording, such as background noise (even ambient noises like the hum from overhead lights, a fan going in the room, or pipes running) or the audio quality of the student’s device. Students may also hold back when they’re recording themselves because they’re worried or embarrassed that their family will overhear them. However, you can only crank the audio so high when you’re putting the footage together, and having one student noticeably quieter than the rest of the cast will make it difficult for your audience to understand what’s going on (just like in in-person theatre!). Have fun.You and your students are getting to do theatre — not the way you’re used to, true, but you’re still getting to do something together! Your students are learning new skills: acting for the camera, framing and camera work, creative problem-solving. Rather than focus on the negatives of being away from each other and missing the feeling of being onstage, try to focus on working on a new creative endeavor together. On top of that, you’re caring for each other’s health and safety by doing a virtual show.

One of the biggest challenges and disappointments of the current pandemic situation is the loss of live theatre production opportunities. Shows have been cancelled and postponed and we don’t have a clear idea of when they will be able to resume. Students miss their friends and “show families,” teachers miss their students, and everyone misses the opportunity to be creative and have fun performing. However, we theatre types are enterprising people, and we will not be stopped in the pursuit of performances! Virtual productions are popping up everywhere now, specifically designed to be performed online, and they are a wonderful way to keep your students together and keep their love of theatre alive. If you’re thinking about doing a virtual production, here are a few tips. 1. Choose your content.Show selection is always one of the first things you must consider, regardless of whether the performance will be online or in person. Will you choose an existing script, or create a new, original piece with your students? Will you do a vignette play, a series of monologues, or a standard script adapted for social distancing? Will your play be full-length or one-act? (For a first-time virtual production, it’s better to err on the shorter side.) Are you moving to an online version of your cut-short school production, or starting from scratch? Many playwrights are adapting or creating new pieces to be performed online. Check out Theatrefolk’s collection of virtual plays here. Remember, when producing an existing script, you must always purchase the rights to perform the play, regardless of whether it’s a virtual production or not. If you’re creating your own original piece, you won’t need to budget money towards the script, but you will need to budget time to write and edit the material, on top of rehearsals. Musicals are more challenging to produce virtually than plays, due to differences in technology quality and the high likelihood of video and audio lag. If you do decide to tackle a musical, you will need to record and edit the music together. You will need a guide vocal or click track to keep your students in unison, as well as lots of rehearsal time. 2. Choose your cast.You’ll need to make some decisions regarding casting. Will you assign roles based on your knowledge of your students, or have them audition? Or will the group determine who should play what role together? If you choose to have auditions, you will need to decide whether to have students perform their auditions live using a video conferencing program, or have them record audition pieces and submit them to you. If you go the live route, you will also need to decide whether to have your students audition “in front of each other” during a group video conference, or sign up for a time slot and audition “one on one” with you. Is this a class production, or an extracurricular activity? Will rehearsals occur during school hours, or on evenings and weekends? Will students be graded on their participation and performances, or is it just for fun? Either way, like an “in-person” production, cast members must commit to being available to attend virtual rehearsals, as well as film and submit lines, scenes, and any other material as needed, by their assigned due dates. They must have access to the required technology – while most tablets and phones have webcams built into them, some older computers do not – as well as a stable internet connection. Students may need to create their own costume or prop items. If necessary, have students and their families sign a contract that lays out all the commitments for the virtual production in advance. 3. Get your tech in order.Will you stream your production live, or will you film the scenes and edit them together? Streaming your production live is exciting and gives students a feeling of being in the moment for their performance. Filming and editing allows you to redo mistakes, as well as add special effects and music during the editing process. Editing videos together takes a lot of RAM on your computer, and you may need to enlist the help of a videographer or editor if you aren’t particularly tech-savvy. Using headphones while rehearsing/performing can help to avoid echo, but if your students are using Bluetooth or AirPod earphones, ensure all other Bluetooth devices are turned off in the house to avoid sound mix-ups. Be aware that some audio will sound tinny no matter what you do. If students are performing live, remind them and their families that they can’t watch the live stream on a device in the same room that they are performing in! Always do a technology test before starting the performance, especially if you are performing live. 4. Rehearse your material.Students will need to work with their teacher/director to consider how to frame their webcam (horizontal or “landscape” orientation is best, rather than vertical or “portrait,” unless specifically requested), where to position themselves within the frame, how to light the scene, and how to ensure they’ll be heard. You’ll need to schedule full-cast rehearsals as well as small group/individual rehearsals. The full-cast rehearsals will be challenging, as students will want to socialize (just like at “in-person” rehearsals!), and it might be hard to keep everyone quiet. However, these rehearsals are important for creating camaraderie and a sense of community while physically separate. If you choose to have students film their scenes/monologues themselves and submit the footage, be sure to give them clear submission deadlines, to ensure that you receive them on time and in the correct format. You don’t want to have to chase down missing scenes or re-film scenes that are pixelated or inaudible. If you are adapting a production that was originally going to be performed in person, you may also need to schedule some time with your students to grieve for the production that was, and adjust to what the production will end up being. It’s not the same, and it won’t be the same. But it will still be a special experience. Special thanks to Alyssa Elaine, Kris Garrett, Allison Green, Jess McGettrick, Brice Williams, Stephanie Wendell and Melanie Slabaugh Clay for submitting their real-life tips, experiences, and advice via social media.

Directing a show can be a challenge. Directing your very first show can seem overwhelming. So we asked drama teachers: What are your top tips for someone directing their first show? Material matters!Jessica L. says “Consider a vignette play. It helps break down everything into smaller sections. It keeps everyone from feeling overwhelmed.” Jeremy B. suggests “Pick a show that you know you can do, but that you also can be challenged by.” Ryan K. recommends “Pick something small, short and do-able.” Diana B. says “Know the play and characters, inside and out.” Set the stageMollie W. recommends “1. Get a good stage manager. 2. Get a good stage manager. 3. Get a good stage manager.” Grant R. says “Pick a stage manager you can trust and collaborate with who can take the reigns once blocking is done so you can step back and see the big picture.” Matt B. says “Think out the tech before you fully decide the show. Often people choose a show but don’t think about the tech.” Trust the teamJessica L. suggests “Ask the kids to show you their ideas.” Kait GW. recommends “Surround yourself with a team of people who have the experience to help you in everything, and that you trust. A good team is absolutely invaluable.” Jessica S. says “Sometimes you need a fresh set of eyes to take a look at your work and that’s totally fine. Don’t be afraid to bring someone you trust into the rehearsal room.” Porter J. suggests “Recognize and celebrate your artistic collaborators. It doesn’t weaken your authority.” Pam K. says “When you pick a show make sure it fits the people that you know you will have to cast. Good casting is a huge part of success.” Lu Lyn J. says “When choosing between actors in the casting process, always cast the person with whom you prefer to work.” Steven Z. shares “Cast the show as if you were going to be onstage with them.” Arielle R. says “Make sure the cast feels like an ensemble, create that environment.” Marly M. suggests “There are times in casting where an actor will be exactly what you want. There are other times in casting where the opportunity arises for an actor, through your leadership and guidance, to grow into a role. Both are beautiful experiences to behold.” Mario S. says “Get help!!! Don’t be a lone wolf.” Kylie S. recommends “Get people on your side. That means a good team of parents and volunteers involved, it means the admins and athletic directors, it means the community for sponsorship and marketing. It’s a big job, but it becomes easier if you have people supporting you!” Carol G. says “Do not estimate the power of an early style meeting with all designers. Discuss production and rehearsal expectations with your stage manager. Make prop and costumes lists and earlier than you think you should.” Mario S. shares “You pick the actors for a reason. Get out of their way. Let them take the characters places you would never think. You can always pull it back.” Porter J. says “Pay attention to the actors’ physical impulses to move. The movement may not be right but the impulses almost always are.” Plan your work and work your plan!Shelby S. says “Plan your rehearsal schedule backwards from opening night.” Pam K. suggests “Have your blocking written in although it may change. Have a rehearsal schedule and try to stick to it as best you can. You don’t want to sit around at rehearsal and figure out what you’re going to do.” Dan R. says “Know the venue – acoustics, entrances and exits, backstage possibilities, wings, fly space, dressing rooms, restrooms, lightning and sound options, backstage communication choices, sight lines, front of house, parking, location (if you’re near railroad tracks or airport or a highway overpass), nearby amenities (restaurant, bar, fast food joint).” Anne W. says “Make a maquette and move the furniture and figurines around, with all entrances and exits, before blocking with real people.” Holly A. says “Plan, plan and then be ready to change the plan…” Carol E. suggests “Do as much of the director’s homework as you possibly can. Assemble your director’s book, design your floor plan and block the show, lighting and sound plots, costume notes, theme of the show, audition scenes.” Jeremy W. recommends “The list as a director keeps changing. Make a list. Check it all before the day is done. The list can be daily and weekly and monthly. The faster you can check off your list, the more time to enjoy the experience and your cast and crew experience as well.” Mario S. says “Make a rehearsal schedule – stick to it.” Marly M. suggests “Study blocking and how to use it effectively as well as artistically.” Go with the flowJessica L. says “Accept that it’s okay to cry. A lot. Especially if theatre wasn’t your major and you’re 33 years old and you haven’t directed a show since you were 17 years old in your senior year of high school!” Porter J. suggests “A rehearsal without at least one good natural laugh is usually not what it should and could have been.” John L. says “Prepare everything but be ready to change everything.” Kathleen M. suggests “Expect the unexpected. You’ve got this!” Brenda W. recommends “Cast well, be flexible, enjoy the process.” Iverson W. suggests “If something isn’t working go back three pages.” You’ve got thisTony P. says “Trust in yourself. Failing that, trust your team. Failing that, trust your cast.” Christian S. says “Know what your vision for the show is, be strong enough to stick to your convictions bit not so narrow-minded that you won’t take on the advice of other people’s suggestions.” Jessica S. suggests “Remember that the process is collaborative but you are ultimately in charge.” John L. recommends “Listen to your actors, but remain the final authority. If you make a mistake or something just isn’t working, admit it and move on. The show is more important than your ego (or theirs).” Join the conversation on Facebook, Twitter or Instagram and add your own advice to our list.

So you’ve selected the show you are producing this year and you have come up with an incredible vision for the show. This is going to be awesome! Obviously, you want your students to share in your excitement – but how will you help your students to clearly understand your vision and buy in to it right away? Using the senses to communicate your directing vision helps students to really immerse themselves into the world of the show that you will be creating together. Continue to reinforce your vision both before and throughout the rehearsal process. Try the following suggestions to help illustrate your vision and make it super-clear for everyone involved. Many of the suggestions can fall under two or more senses; work with your students to notice the crossovers. Sight• First and foremost, create a vision board with images pulled from the internet or cut from magazines, as well as sketches and drawings. Post it in the rehearsal space so students can see it and refer back to it. • Use video examples – either clips from previous productions that illustrate what you do (or do not) want to do, or clips from movies, television, or music videos that inspire you. • Create a visual timeline of the show from beginning to end, using a long roll of newsprint. Include instances that occurred prior to the show that trigger the situations within the show. Have students find or draw images to add to the timeline and make it more visually appealing. • Create a connections board showing how all the characters in the show are related to each other – marriages, family members, friendships, colleagues, servants/masters, and so on. Have students create images of the character that they are portraying, and then pin them up on a bulletin board. Use yarn or string to connect the characters. Notice if someone isn’t connected to anyone – why is that? Also think about broken connections, such as former friends, exes, or enemies. Use a different colour of yarn to illustrate those connections. • Find books, magazines, and articles that are either about the show or set in the same time period as the show. Have them available for students to look through when they’re not immediately being used in rehearsal. Sound• Create a soundtrack or playlist of songs that inspire your vision. Share it with your students and explain why you selected the songs you did. Have students suggest songs that could be added to the playlist. • If your show is set in a certain time period, choose a song from that era and play it at the beginning of rehearsal. Who sang the song? Why was it influential to the era? Then let students select songs for upcoming rehearsals. Why did they choose the songs they did? • When talking about the show, use descriptive language to get students excited. What adjectives and verbs can you use that will get students amped up? • If your show is set in another country and uses accents, have students listen to internet talk radio stations from those countries to hear what the accents sound like. Touch• Create a 3D model or diorama of your set. Create small cutout figures of the actors and move them around the set to demonstrate how transitions and scene changes will work. • Include tactile materials such as fabric swatches, carpet samples, props and costumes pulled from your stock to use as examples. Allow students to touch the materials and describe how they feel. • If your show involves specialty props (such as swords or guns) or special effects (such as a swinging rope or a crash mat for stunts) and safety permits, allow your students to touch and try out the items – under supervision of course. This will also help to remove the temptation to play with the items backstage or during pre-show/post-show. • Have an aesthetics day where students recreate hairstyles and popular makeup looks of the era of when your show is set. This has the additional benefit of giving you the opportunity to select and approve hair and makeup looks for the cast members and gives students the opportunity to find out how to create the styles and how long it takes. They’ll also quickly figure out if they will have to do pre-show prep at home before call time. Smell/Taste• Note – Be very careful when approaching smell and taste with students. Be sure you are aware of any allergies or sensitivities that students have to particular foods and scents. If your school is a scent-free zone or has restrictions on what food items can be brought in, combine smell and hearing by using descriptive language and visualization techniques to evoke the smell and taste senses. Also, be sure that any food items are prepared in a clean and safety-approved environment. • If your show had a signature dish, what would it be? What were the popular meals and drinks of the day? Create a sample menu of what people would commonly consume. • Look through your script to see if there are any references to food or drinks. Make them for your students to try at an early rehearsal. • Create a “scentscape” for your students. Have students close their eyes and then talk them through a “scent tour” of the scenes of the play. What does the world of your play smell like? For example, if the show is set in a carnival, describe the scent of crisp fall air, the pungent odor of gasoline from the rides, and the various yummy smells of the food vendors such as cotton candy, candy apples, popcorn, and French fries. If the show is set at a beach, you might smell salty seawater, sunscreen, and various scents from picnics and barbeques.

Congratulations – you are directing your first musical! You and your students will definitely face some challenges, especially if you normally direct plays. This is not to say that directing a musical is more difficult than directing a play – both are equally challenging, physically and mentally. They are just different. With that, here are ten things to think about and be aware of when directing a musical versus a play. 1. Students will have strong opinions on the show you’ve chosen.Musicals can be polarizing topics. Rarely do you hear about musicals that are “nice” or “fine” – for most students, musicals tend to fall into “love” or “hate” categories. Students also tend to be passionate and vocal about the musicals they like. For example, if your students are into newer, modern musicals like Heathers, American Idiot, or Bring It On, they may not be as thrilled if you select a classic musical such as The Music Man, Fiddler on the Roof, or Oklahoma (despite the name recognition). 2. Students will want to do musicals that you may not be able to do…or just can’t do, no matter what.This is a tough one because, as we mentioned, students tend to be passionate about the musicals they want to do. There are many musicals that the amateur rights are not yet available for – so you cannot currently produce shows such as Hamilton, Wicked, Dear Evan Hansen, or SpongeBob Squarepants: The Musical, despite your students’ pleas. Some musicals are incredibly difficult for younger, less experienced performers, such as The Phantom of the Opera (extremely demanding vocally) or Cats (heavy technical dancing), so you’ll have to be very confident in the skills and abilities of your students before selecting a show like those. Shows such as The Last Five Years have too small a cast to be able to do in a high school setting, and some school boards may not approve of productions with mature subject matter such as RENT, Avenue Q, or Spring Awakening. On top of that, many musicals, such as Hairspray, Ragtime, Thoroughly Modern Millie, and In the Heights, are written for performers of a specific race and if you don’t have students of the right ethnicity, you cannot perform those shows. Do not despair! There are still so many musicals out there for you to explore and discover. With new musicals being released all the time, there will definitely be a gem of a show out there for your students to do – you just may not have found it yet. 3. There can be many different versions of the same musical.Many theatrical licensing companies produce not only the “official” full-length versions of their shows, but also offer various modified editions of their shows specifically targeted for schools to produce. Take a peek around their websites and you’ll see high school editions, middle school editions, one-act versions, and even dual-language editions of some shows. You will need to do some research and carefully select what version of the show will be best for your students. If they’re available, listen to any music samples on the website and check the vocal ranges to see if they fit the abilities of your students. Do be aware that high school aged students will occasionally turn up their noses if you select a “junior,” “young performers,” “getting to know,” or “school edition” version of a musical. They might feel that they’re getting a dumbed-down or kiddie version of the show, despite the fact that these shows are especially modified so students can succeed. Generally, the changes include adjusting the original keys of the song to be easier for younger voices, removing some songs or scenes for timing, or adjusting the language to be more appropriate for school audiences (such as removing swear words). If you do decide to choose a different edition, note the differences so you can discuss these changes with your students. 4. Some of your go-to drama students may not audition for a musical.There are always some incredibly talented, hard-working, and dedicated drama students who will absolutely balk at the idea of singing and dancing onstage. Musicals are not for everyone, but do your best to either convince these students to audition anyway, or if they really do not want to sing and dance, to be involved in another way (stage management, backstage, front of house, etc.). Trying a musical can be a great way for students to discover new skills and talents they didn’t know they had! 5. Everything is more expensive.Acquiring the rights to produce musicals is more expensive because you’re purchasing both scripts and scores for you and your students, as well as paying for rehearsal tracks and additional staff (musical directors, choreographers, band members, and so on). You will also need an exceptional sound system and probably microphones to ensure your singers are heard over the band or backing tracks. 6. At the beginning of the process, you may not be doing as much as you normally do.Once casting is complete, you may feel, as director, that you are not doing much during the first month or so of rehearsals. This is especially true if you have a separate musical director and choreographer. With musicals, it is easiest if the songs and dances are learned first so there is more time available to rehearse and review. Certain songs may be blocked instead of choreographed. And, of course, there are scenes to work on that need to be just as good, meaningful, and memorable as the production numbers. Just be aware that the bulk of the work on these parts will come after the majority of the production numbers have been dealt with. 7. Don’t despair the first time your students do a stumble-through.It is inevitable that the first time your students do a stumble-through of the show, some (if not all) of the production numbers will fall apart. Musicals are incredibly physical, and students have been using their muscle memory for learning the songs and learning their dances. But it is a whole different ball of wax when students are putting the two together for the first time. Either the dancing will be awesome but students will forget to sing, or the singing will be gorgeous but the dancing is a disaster. This doesn’t even touch on students’ acting performances while they are singing and dancing! Keep a positive attitude and point out what did work well. Your students will be aware that they aren’t audience-ready yet…but reassure them that they will get there! 8. You will be reviewing…and reviewing…and reviewing…Speaking of muscle memory, your students will need to constantly review their lines, choreography, and vocals. Again, this is not to say that being in a musical is more difficult than being in a play – it’s just different. If your students are not experienced in singing and dancing while acting, they will need extra practice. Encourage your students to keep practicing and reviewing at home so you are not spending precious rehearsal minutes having to re-teach choreography and harmonies. You may wish to assign student dance captains, vocal section leaders, and/or a rehearsal pianist to assist with reviewing and polishing, especially if you are working on something else at the same time, or your musical director and choreographer are not available. Divide and conquer to max out your rehearsal time! 9. The technical needs for rehearsal are different as well.For rehearsals, you will need a set of backing (karaoke) tracks in the correct key and a sound system of some sort, or a rehearsal pianist (and piano or keyboard). You will also want to record the choreography so you and your students can refer back to it – you will need a digital camera or cell phone with recording capabilities, and a way of sharing the videos, whether that be a private YouTube channel, a Google Classroom, or another platform of a similar nature. Your stage manager may need to take photographs or make drawings of actor placements in production numbers, so students know where they should be standing and who they should be next to at different times. If you are using handheld microphones in the show, be sure to have students practice with something in their hands during rehearsal. They don’t need to have the exact microphone they will be using, but even having a similarly shaped object (like a water bottle) is important for students to practice holding the mic correctly, and figuring out what to do with it when they need to do something physical. 10. Despite the challenges, you will have an absolute blast directing a musical.Musicals are just another way of telling a story, and that is truly what theatre is – telling a story in different, interesting ways. Musical numbers occur when characters’ emotions are so strong that they can’t just say words – they need to sing about their feelings or express their thoughts through movement. That’s really cool! Your students might be nervous about doing a musical for the first time. Use this opportunity to share your thoughts on the matter too, as this is a new experience for you too. Students need to know that learning happens all the time, and adults are always learning, growing, and making mistakes as well. This will be a wonderful shared experience that you can all look back on together – good luck and have fun!

There is no more class that is more divergent than the drama classroom. You have the vast number of different students who end up in your classroom, some who want to be there and some who don’t. You also have the ability to look for many different solutions to a problem in the drama classroom. Playwright and teacher Steven Stack knows first hand that theatre is the perfect place for divergent learning to happen. Here are 5 tips he has from the the front lines: What is Divergent Learning?Divergent learning means to look for as many possible answers and solutions to the topic and material you are teaching. It’s looking at students not as a group of students but as a group of individuals. You adjust your teaching, your expectations, and your perspectives to the individual student. This way you can give them what they need to be better students, to learn more efficiently, and in some ways, to be better at life. How can I incorporate Divergent Learning in my classroom?• Change your perspective. Divergency is not something to be feared. It’s an opportunity to reach these students on so many levels and that’s the big thing. It’s a perspective shift. • Be willing to adjust. Understand that students are going to take you in various directions. • Create a community that embraces differences and supports one another. Where do I start?Here are a few ways Steven addresses divergent learners in his classroom: Community Building ‘Check In’s’: Students start each class by sharing (if they want to) something that’s on their minds. It can be funny; it can be what they had for breakfast; it can be something that’s stressing them out. But they share and everyone else listens. The sharing isn’t complicated, it’s one basic fact about themselves. Those in the circle don’t address or comment on what they hear. The teacher has to share something asl well. It’s a simple exercise but it starts creating community. It’s safe and students are listening to one another. Group Projects with Success based on Process Give students the challenge to audition, cast, stage, and perform a play within a week. Give them the script on Monday and tell them the performance is Friday. The students either succeed or they don’t succeed together. There are no stars. They have to work together for success. And the success is not based on the performance. It’s based on the process. If they did their best, that means they tried to put it together, they worked hard, and everybody was working together. They faced struggles but they dealt with those struggles. It’s an amazing exercise. Get Students to Discover Multiple Perspectives It’s critical to get students to take ownership of their learning decisions. Tell students: “When you’re answering this, don’t give me the answer you think I want. I don’t want that. I want you to own it. You do what you think is right.” Do a quote of the day where you pick various quotes about life, about empathy, various things about learning, and write them on the board. Have students reflect either in their drama journals or on a separate piece of paper. Ask them: What does this quote mean to you? Each day, push them to think a little more. The hope is that you plant these seeds and slowly see the progress as the students start to evolve their thinking, as they start to see that there are other viewpoints rather than just their own and other teachers. And then, they start to expand their thought process. Click here to listen to the full podcast or read the transcript.

Time for a Tfolk Top Ten Plays For….Student Directors. Do you have a student directing class? Do you have students who show a knack for taking charge and establishing vision? Then you need plays that are perfect for student directors to tackle. Think short, think active, think character driven. Think plays that can be accomplished from audition to performance within your class periods. Click the link and you’ll be taken to the webpage for each play. There you’ll get the details and read sample pages. Hand this list over to your student directors and see what they think. All the best with your search! Ten/Two Ten plays for two actors. The plays can be performed individually or all together for a full evening of theatre. Excellent for the classroom or competition. This collection is ideal for student directors because they’re contained. Two actors, a complete story from beginning to end with specific characters. Hamlette Imagine if you will that “Hamlet” was not “Hamlet” at all, but “Hamlette” – a woman! This play is a twisty-turny interpretation of the classic Danish tale. If you have a student director who wants to spread their comedic wings, try this piece. It requires a lot of physical action, so it’s more work than it seems on the page, but your students are up to the challenge, right? Hairball A light vignette play about our obsession with hair. I’d highly recommend this for starting directors. Because it’s short scenes based on a theme, it gives a student director something short to find success. You can divide the play up among a number of directors if you have a large class. Or take one scene and see how your directors tackle it. What are the similarities? What are the difference? Smarty Pants Dallas is a real smarty pants and can’t wait to show off. But he’s in for a shock. His new class is very different. This piece gives students directors a chance to explore both character and physical action. Rainbows vs Bunnies: Annihilation A talking bunny. A talking rainbow. Plus annihilation. This piece would be a lot of fun to direct, The challenge here is taking charge of a couple of large groups and staging. If you have students who need to improve their leadership skills as a director, this is the piece to do it. Will and Whimsy Shakespeare’s Sonnets come alive in this play where modern scenes play hand in hand with the original text. With this piece you have the combination of modern scenes and Shakespeare. If you have a student who wants to tackle the bard, give them this play first. Skid Marks: A play about Driving Your first car. Getting your license, Getting pulled over. The relationship between teen and car makes a great backdrop for this vignette play. Vignette plays are always a great place to start with student directors. Ten Minute Play Series (All Girls, Girls & Guys, Be Challenged) These plays offer everything from broad flat-out comedy to quiet, intimate drama. All the pieces have small casts, have modest set requirements and well defined characters. Your student directors will find something they love in one of these collections. EllenAliceMonaJune (in Malled) Ellen, Alice, Mona, and June share those uncomfortable truths that only close friends can tell each other. A lovely four actor piece that dives deep into character. If you have student directors who need to work on bringing out a three dimensional character in their actors, this is the piece. Anxiety is Orange Join the characters in this vignette play as they navigate the world, each other, and the greens, greys, blues, reds, pinks, yellows, and oranges around them. Give this play to one director or divide the scenes up among group of directors.

Drama Teacher Podcast.Scott Giessler is a teacher and a playwright. He went into theatre teaching without any training. Not only is he still doing it, but he has a strong philosophy for how to do it. He’s well aware that what you need as a teacher isn’t necessarily what your students need. Scott is adamant that there is a seat for everyone at the table in the drama classroom. Learn from his experience by incorporating these tips into your own program, from the Drama Teacher Podcast. 1. It’s not about YOU, it’s about THEM.What you get excited about is not necessarily what’s going to light their fire . Get to know the needs of each particular group of students. What do they bring in the door with them? Realize that every year, every semester, as the group changes, so will their needs. You’ve got to constantly learn and adapt. 2. Build trust.In a math classroom, trust is going to be built with “I’m going to show you how to do this and, when it works, you trust me.” With a theatre class, you’re asking them to dig down into themselves and take some social risks. Building a relationship with them is key. If you don’t have a relationship with them, you won’t have the type of trust you need for them to take those social risks. 3. Find a place for everyone – well beyond the actors who already love theatre class.You have the guy who is in the construction trades class who, for some reason, gets dragged in because his girlfriend is in the program. We send him over to the scene shop and we can’t live without him. We’ve got the kid who doesn’t want anything to do with the stage but just loves the costume room . We have the kid who is really great with Photoshop and wants to do all the posters for us . We have kids who just want to be a part of the magic and end up being our house crew or backstage crew. Find the place that each student is comfortable, and you’ll be on your way to building a great program. 4. Help them realize that they are ALL an important part of the team.In basketball, if the third-stringer player doesn’t show up, well, it’s not really a problem because we’ve got two other strings to send in. Whereas, in theatre, anyone that doesn’t show up, it throws a monkey-wrench into the whole works. Embrace the concept that there is no unimportant cog in the machine. We need every last piece to make it move. Instead of “the show must go on,” the proper phrase really is “the show will go on as long as the people running it are a concerted group of people who care a great deal about the outcome.” 5. Include everyone. Don’t cut anyone out.For the same reason that a math teacher doesn’t throw a kid out of math class because he can’t get the hang of math, don’t cut a kid from a high school theatre program because he’s not very good at theatre. The moment they make a commitment to be there, they’re there and we’re going to invest time in them. More importantly, though, they’re investing time in others. Click here to listen to the full podcast or read the transcript. Scott’s got lots more to share, including details of his play Finishing Sentences.

How do Theatre and Autism fit together? Do you have students on the spectrum in your classrooms? Have you ever put on a sensory friendly performance? All of these questions and more were answered in a Drama Teacher podcast with James Lekatz, program director of the CAST program (Creative, Accepting, Sensory-Friendly, Theatre) at the Stages Theatre Company in Hopkins, MN. We’ve shared a few highlights here to help you in your classroom. Click here to listen to the full podcast! How do you help a student who is on the spectrum make the most of the theatre classroom? What can the student do to make the most of the class?Structure and schedule. James says, “We make sure that students know what we are doing every day and make sure it’s very clear. I’ve used this in all my classes now because it works really well as a schedule of events…” Many students on the spectrum are meticulous. They need to know exactly what is going to happen in the class so they can prepare themselves and know that A goes to B, B goes to C, C goes to D. You can help them by ensuring a consistent and constant schedule. Patience and understanding. James relates, “Being able to work one-on-one with students on the spectrum is really useful and being able to ask questions helps navigate a situation.” After you’ve given instructions to the group, connect with the student one on one. For example: “Did you understand what’s happening?” “Yes.” “Do you know what you need to do next?” “No.” “Oh, okay. So, go find a partner and sit down and talk about A, B, and C. Great. There you go.” Giving that extra support to each student will help them to thrive in the classroom. Breaking it down to the smallest step is essential as asking for a partner might be a huge barrier for a student. Explaining the ‘how’ is very important. Use physical tactics. James explains, “With my students on the spectrum, I say, “I’m going to come up to you. Can I touch you to help move your body around?” If they say no, I just say, “Watch my body.” If they say yes, then you can go ahead and do it, but I always ask them permission first. Physical theatre is acting from the outside in, even if a student is unable to start on their own – i.e. “I don’t know how an angry person looks.” The teacher can model: “Well, look at my body. I’m going to start in actor neutral,” which is a great place to always start from when working with physical theatre, “And, now, I’m going to be angry.” So, I’m going to tense up my body. “See how my body is tensing?” Ask them, “Can you see my body is tensing? Tense up your body. Okay, now, relax. Now, I’m going to change my posture. My shoulders are going to come up and I’m going to keep my body tense. Do you see how that is changing?” If they say no, then you can help them move their body to that way. You can use the physical approach of how our body replicates emotions and have that be the starting point for students to create characters and stories from. Find peer mentors. James suggests: “If you are able to have peer mentors in your classroom as well, having a neurotypical student in the classroom helping model, it achieves so much more than just having a teacher or two adults in the classroom. Modeling is very, very, very important.” Further to working with students in a class setting, James has four years experience of putting on sensory-friendly performances. Would you like to do the same? Want to learn more? Listen to the entire interview or read the transcript here. UPDATE FALL 2018: James Lekatz is now the Artistic Associate at Interact Center for the Visual and Performing Arts. The mission of Interact is to create art that challenges the perception of disability.

Recently we shared a post about theatrical time management for students . However, it’s not just students who need to plan ahead and consider their schedules. Teachers and directors need to be even more organized, since they have to consider not only their schedule, but everyone in the cast and crew’s schedules! With some smart planning and clear communication, directors can keep their rehearsal and production schedule running smoothly. Here are five tips to help directors reduce scheduling issues during the rehearsal process. 1. Be upfront about your rehearsal schedule and performance dates, as well as your expectations and any rules for missing rehearsal. Let students know these dates during auditions or beforehand (if possible). It will hopefully save people from disappointment, if they’re cast and then have to drop out because of conflicts. Also, be very clear about your expectations regarding attendance and lateness. Do you have a three-strike policy? Who do students contact if they have to miss a rehearsal? When rehearsals are missed, how do students get caught up? Are technicians and crew members expected to attend all rehearsals? It should go without saying, but it is unacceptable for a student to miss a technical or dress rehearsal, or any performance dates. The only way a student could continue to participate is if there is a predetermined solution that has been approved by the director (for example: a substitute technician or available understudy). 2. Ask for conflicts from your cast and crew in advance. Get this information in writing so you can refer back to it later. Let everyone know when the cut-off date for conflicts is. After that date, no more conflicts will be allowed. This will cut down on the number of instances a student comes up to you at the end of rehearsal and says, “I won’t be here at next rehearsal. I have ________ conflict.” A technique I’ve found very useful is to take a calendar template, highlight the rehearsal dates, and mark down the names of anyone who has a previous commitment in blue pen. If someone is absent without letting us know in advance, their name goes on the calendar in red pen. If they are late, I use another colour. It’s a really simple yet effective way of keeping a visual record of attendance. 3. Make a rehearsal schedule in advance and let students know about it with plenty of time. Don’t waste students’ time by calling them to a rehearsal they’re not needed to attend. They’ll just sit there, possibly distracting the other students, and feel resentful that they’re not doing anything. Try to give at least two weeks of rehearsal schedules at a time, so students can plan ahead. Sometimes calling all students to rehearsal is necessary (even if they aren’t in every scene being rehearsed), so encourage them to bring along a book or some homework to keep them occupied and quiet during downtime. Or, even better, they could be using the time to work on learning their lines. 4. Respect everyone’s time. Don’t keep students for hours after the scheduled rehearsal time to cram in those last few notes or to run that scene “one more time.” We all know in theatre that it’s never just “one more time!” Students are so busy with homework, part-time jobs, other extracurricular activities, and are frequently at the mercy of parents and family members for rides. Get a big clock and set it up where you can see it, and end rehearsal right on time (or better yet, five minutes early, so everyone can help tidy the rehearsal space before they leave!). 5. Give clear and specific timelines to everyone involved in the show —actors, crew members, designers, technicians, etc. Let them know when you expect off-book day to be. Let your costume and props team know when you’d like to have a costume parade and when you want to start working with props. Work with your producer to find out what dates you want certain marketing to occur on. The more organized you are with your timeline, the better your show process will run.

If you were to make a graph of emotions throughout a rehearsal process of a show, I think it would take on a U-shape. The process starts on a high note, with everyone excited about the show and learning tons of new material. Then it starts to dip down into a valley once the “newness” wears off, and the hard work of the rehearsal process sets in–practicing, reviewing, repeating, doing everything “one more time” (which is never just “one more time”). The excitement comes back with the addition of all the “extras” that make a show better–props, costumes, sound and music, sets, lighting, special effects–and then peaks with a fabulous show. If you and your students are at that mid-way dip in the valley and rehearsals are feeling forced rather than fun, it can be hard to mix things up to get yourselves out of the rut you’re in. Don’t stress though–try going back to the basics. Sometimes we forget that theatre is, at its simplest, a form of telling stories. Through movement, songs, speeches, gestures, facial expressions, and humour, we create an experience for our audiences. It’s easy to get caught up in the spectacle and forget the rudimentary storytelling aspects of theatre. So when you’re feeling stuck, go through the checklist below and see how you measure up for each basic idea. Or go over this checklist with a friend and help each other out. You can use the reflection below to help you solidify your thoughts about where you’re at and how you’re feeling about the rehearsal process. The Basics of Theatrical Performance1. Volume – Are you speaking loudly enough to be heard? If you can’t be heard, the audience won’t know what’s going on. 2. Diction and Enunciation – Are your words clear? Is every word distinct? Are you pausing for punctuation? 3. Pacing – Are you rushing through your lines? Taking too many dramatic pauses? Or (as Goldilocks says) are you “just right?” 4. Posture – Are you slumped over or slouching? Are you supporting your diaphragm? Is your posture an active choice or are you being lazy? 5. Focus – Are you actively engaged in the scene, or waiting around until your next line? Who is speaking, and are you listening to them? Where are you looking? Who or what should you be looking at? 6. Facial Expression – This ties in with focus. Are you making an active choice in facial expressions, or are you “dead faced?” Or, are you going over the top and simply pulling faces, rather than making a more natural choice? 7. Body Details – Are you aware of your body at all times? For example, are you extending your fingertips, pointing your toes, and fully raising your arms in your dances? Are you turning the correct way? What is your face doing? 8. Your “what” – First and foremost, do you solidly know your lines? If not, get them memorized! Then, when you say your lines, do you truly understand what you’re saying? What about song lyrics? If you have questions about what you’re saying, the audience won’t know what you’re saying either. Ask questions. Ensure you understand exactly what is going on. 9. Your “why” – Or your motivation. Why is your character there? What is their purpose in the scene? Why are they important to the story? 10. Storytelling – Everything seen or done onstage must contribute to the story. Every actor, no matter their role, is a piece of that puzzle, a crucial gear in that machine, that all adds up to the whole point of the show–to tell a story. Are your choices adding to that story, or taking away from it?

Students, imagine this: You’ve been cast into a show that you know is going to be awesome. You’re in the middle of rehearsal, and your director has just asked you to do something really embarrassing. What’s an actor to do? Here’s a brief anecdote… Back in elementary school, I was cast in a production of The Taming of the Shrew. I vividly remember being really embarrassed to have to squeal in delight and hug the actor playing my husband onstage. It was the squealing that really embarrassed me—I didn’t want people to laugh at me for making a ridiculous noise. Also, I didn’t fully understand why the director wanted me to do it. I did it in rehearsal once or twice, but during the run of the show, I never actually made the noise. Looking back on it, I know now it would have been much better for the scene and for my character if I had actually committed to the direction given to me. But at the time, I was too embarrassed because I thought I’d look and sound silly. I’m a lot more confident now about looking silly onstage, but of course nobody wants to look foolish. Part of being an actor, however, is learning to really commit 100% to telling the story of the show. That might include doing embarrassing things. Still embarrassed? Let’s break it down and figure out how to deal. 1. First, figure out why you’re embarrassed.Re-read the script/scene. Reflect on the directions you’ve been given. What about it is embarrassing to you? Why are you feeling embarrassed? It may be helpful to write out how you’re feeling. 2. Speak up—sooner, rather than later.Talk to your teacher or director. If it’s something morally, ethically, or safety-related that you have an issue with, you need to talk to your director immediately—preferably before you rehearse the scene. You should never do anything you feel is morally wrong or unsafe onstage. A good director should be able to accommodate your concern and alter or adjust the scene, line, or gesture. If what you’ve been asked to do is not morally objectionable or unsafe (if it’s just embarrassing to you), then of course, still speak up! If possible, suggest alternative ways of performing the scene. This way, you are bringing solutions to the table, rather than just seeming like you’re complaining. If your director doesn’t know about your concerns, then they can’t do anything about it. And, if you wait too long to say something, it may be too late to do anything about it. The director may be able to adjust the scene, but be prepared that they may not be able or willing to. You may have to suck it up and do it—or worse, risk being removed from the scene or re-cast altogether. 3. Remember, it’s not “you.”Actors have to separate themselves from the character they are playing. It’s not “Kerry the person” up on stage, it’s “Sabine” or “Lord Lancaster” or “Bianca.” Your character is the one doing the silly or embarrassing thing. Your friends and family coming to the show are not laughing at YOU, they are laughing at the situation your character is in. Trust that your director can see what you’re doing. Even though it may feel silly or strange, it probably looks really good onstage. Teachers, this is a good talking point to discuss with your students. Have them make a list of similarities and differences between the student and the character they are playing, and how they might react differently than their character. As an exercise, students could write an alternative version of the scene, where their character reacts in a different way than what is written in the script (thus, coming up with an alternate reaction than what the student is embarrassed about). Click the link below for a reflection. 4. Think about other actors who have had to do silly or embarrassing things onstage or on screen.Your favourite actors and actresses have all had to do embarrassing things in their various roles, and on much bigger stages or screens (with the whole world watching). They survived. Just think: if they can do it, so can you! Or, talk to older students and your teachers about their experiences onstage. Listen to their stories and learn from them–they’ve been exactly where you are. 5. Above all…be brave.Actors truly are brave individuals. 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. As an actor, 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 director (remember: they can see what you’re doing much more easily than you can), and do your best. Believe me, you will impress everyone with your dedicated performance.

If you’re a drama teacher, Shakespeare should make it onto your stage at some point. But what if you’ve hated him since high school yourself? Shakespeare is a great challenge—one that is easier to embrace than skydiving. On the Drama Teacher Podcast, we heard from two teachers–Heidi Frederic (Romeo & Juliet) and Hilary Martin (Much Ado About Nothing)–about their experiences directing Shakespeare for the first time. They have some great tips to share! 1. Ask for help Heidi says: ‘I was calling all the troops to help me out. “I cannot do this alone!”’ In this day and age, you don’t have to go it alone. Where it’s a workshop in your area, an experienced teacher at a neighbouring school, or even just online—there are many place to access help. Here are a few resources to get you started: • No Fear Shakespeare • Drama Resource • Look for online exercises (like this one on Iambic Pentameter) • The Drama Teacher Academy • eDTA Open Forum through Educational Theatre Association Hilary notes: ‘Your English teacher is your friend…don’t be afraid to collaborate with the English teacher.’ Call on those who’ve taught Shakespeare in a different context, especially when the students are decoding the script. 2. Consider a variety of script options There are so many ways to skin the Shakespeare “cat” and make it manageable, especially the first time. Consider: • Adaptations • Abridged versions • One acts vs. full lengths Here are some Theatrefolk resources and plays to get you started: • Romeo and Juliet 1-hour cut with annotations • Much Ado About Nothing 1-hour cut with annotations • Shakespeare adaptations and parodies including Drop Dead, Juliet! & Much Ado High School • Shakespeare in an Hour • Solo-Speare a collection of Shakespeare Monologues • Scene-Speare a collection of Shakespeare Scenes 3. Find something to connect to and pull it into your comfort zone When you’re doing something far out of your comfort zone, there are ways to find a little comfort. Find something that you connect to and that you relate to, to make your experience smoother. For example, Heidi adapted Romeo and Juliet and set it in 1994 Seattle with a grunge theme. She says: ‘It helped the students understand the story and the language a lot better.’ Hilary’s students identified Much Ado as a soap opera, which helped them latch on to how they could act extremes in the play. She notes: ‘The over the top acting will also help the audience, who may not have had a lot of exposure to Shakespeare.’ • Read this blog post about setting Shakespeare in another time. • Read this one about putting Shakespeare in context. 4. Consider the unique rehearsal process with Shakespeare Consider pre-rehearsal activities to get students more familiar with the material. In Hilary’s case, her group watched film versions of Much Ado About Nothing, browsed lesson plans, and looked at small parts of the language. Expect that you (as a director) and the actors will have to look at the language and analyze the script a lot more closely. Heidi found No Fear Shakespeare books to be helpful, as well as taking the time for a close reading of the material. It’s critical to take an intensive look at the phrasing and wording, so that students aren’t just up there saying the words. They need to know the story and what’s going on. Hilary relates: ‘The key is going slow.’ She and her students spent a lot of time just reading through the scenes and stopping to analyze whenever the language got confusing. Embrace the challenge! Ask yourself: “Why not Shakespeare?” For more inspiration, check out these Drama Teacher Podcasts:• Drama Teachers Directing Shakespeare for the First Time • Teaching, Performing, Directing Shakespeare • Shakespeare from the Outside In

Creating a rehearsal schedule is one of the most challenging parts of producing a show, but it makes theatrical life so much easier. Teachers and directors: When making your rehearsal schedule, I’m sure you’ve already included dates for blocking, tech rehearsal, and dress rehearsal. But here are four additional rehearsals you may wish to consider including in your plans, to help you in your planning process. Transitions RehearsalsA transitions rehearsal is where you meticulously map out exactly what changes need to happen from scene to scene (furniture on/off, scenery or flats on/off, quick changes,etc.), and who is going to do them. Is it tedious? Yes. Useful? Definitely. You may want to schedule two rehearsals for transitions, depending on the complexity of your show. At one rehearsal, sit down with your cast and crew and go through the script page by page and note what people wear in each scene, what props are brought on/off, what furniture and set pieces need to go on/off, and who is bringing each item on. Make sure everyone writes this down in their script! You can also include notes about pre-set items and places for costume quick changes. After that, you will want to do a physical transition rehearsal where students actually run each transition in the space, on their feet. This can be combined with a cue-to-cue rehearsal, but it’s better to know ahead of time what needs to be done. This helps students remember what to do in each scene and helps actors and crew members to take responsibility! SitzprobeIf you are directing a musical and you have a live band or orchestra, you’ll definitely want to have a sitzprobe. Sitzprobe is a German word meaning “seated rehearsal.” This is where the band/orchestra and cast sing/play through the musical together for the first time, without any staging or production elements—just a room full of people performing together. A sitzprobe is beneficial for the actors, so they’ll know how the music truly sounds and how their vocals blend with the music (or how their vocals get drowned out by the band). It’s also beneficial for the musicians, so they know the tempos and volume level they need to play at. Sensitive, Private RehearsalsYou will want to allot time for closed rehearsals (where only a few actors/essential crew are called) to work on scenes of a potentially sensitive nature, such as: • Romantic scenes, or scenes with kissing • Emotionally charged scenes (sadness, anger, violence, etc.) • Scenes that could involve anything potentially embarrassing to the actors This is important for the comfort of the students involved in these scenes. Teachers: You must create a rehearsal environment where students feel safe to experiment and try different ways of portraying a scene. Let your students know that you are available for closed rehearsals should they wish to have them for a particular scene. Try to get these rehearsals done early in the rehearsal process. That way, you will have the maximum amount of time possible to review and refine these scenes and take the embarrassment/ sensitive nature out of the picture. Costume Fittings/Costume RunsYou’ll want to allot time in the rehearsal schedule for actors to be fitted for costumes, to have a costume parade (so the teacher/director can approve the costumes selected), and to rehearse while wearing costumes (so students will know if they have any problems like an impossibly fast quick change, an extensive hair or makeup change, or restricted movement due to the costume). Of course, different issues will usually arise that you didn’t even think of. But it’s better to be as proactive as possible and get as many potential issues out of the way before tech and dress rehearsals. Save your sanity, get your rehearsal schedule planned out in advance, and use each minute of time as effectively as you can.

Students are busy people. Drama students are no exception! They’re constantly juggling rehearsals, learning lines, working backstage, preparing for auditions, performing in shows (often all at the same time)–on top of the rest of their daily responsibilities! It’s pretty rare to see a theatre person only working on one project at a time. While multi-tasking can be great, it can also lead to stress, burnout, and schedule clashes. Read on for seven helpful tips to share with students to help them manage their lives–including school, part-time jobs, social lives, and (of course) theatrical rehearsals and conflicts. (This advice is useful for non-theatre students too!) 1. Get a planner and use it Some schools even provide students with planners for free–there’s no excuse. Get a planner, and use it! Don’t assume you will remember everything. Write down all your commitments (and this means EVERYTHING—school, part-time jobs, lessons, rehearsals, show dates, appointments, etc.). Writing things down cements the commitment in your mind. Colour-code each commitment if you have to. Don’t forget to schedule in time for things like homework, chores, and social events. 2. Keep a to-do list in your planner Check things off as you accomplish them. It’s so satisfying to see all those tasks accomplished! 3. Plan ahead If you’ve got rehearsal the night before a big assignment is due, don’t leave that assignment until the last minute. Missing rehearsal to complete an assignment lets down the rest of the cast and crew. For bigger assignments and larger tests, it can help to break down your tasks into smaller chunks and assign yourself due dates. For example, for a large written assignment, you could break down your steps into research, outline, first draft, revise, final draft. Spread those dates out between now and the day the final assignment is due. Put those dates into your planner and stick to the dates–it’ll help you reduce stress in the long run. 4. You will have to make sacrifices. Which is more important—performing in a show or going to a school dance? Do you have enough hours in the day to be head of costumes AND sing in the choir? Will your part-time job allow you to book off all of show week to run lights? Only you can make these tough decisions. You can’t do everything. There are just not enough hours in the day. Decide what the most important thing to you is and focus on that. Know what is an acceptable reason and a bad reason to miss rehearsal. • Acceptable reasons to miss rehearsal: illness or a previously planned (and approved by the teacher/director) commitment or vacation. • Bad reasons to miss rehearsal: last-minute tickets to an event, feeling tired from a previous night’s social outing, getting stuck in traffic (leave earlier!), finishing an assignment you procrastinated on, or you “just didn’t feel like going.” The only acceptable reason to miss a show is because you are sick or injured enough to go to the hospital. Pretty much any other reason is unacceptable. 5. If conflicts do occur, be upfront and honest RIGHT AWAY. Tell your teacher/director about conflicts as soon as they occur—even before auditions happen, if possible. It might affect whether you are cast in the show and what role you get. But it’s not fair to the rest of the cast and crew if you get cast, then inform everyone that you have to miss every single Monday rehearsal because of soccer practice. 6. Whatever you do, don’t lie or vanish. You don’t want to be known as the person who is unreliable. Your present choices can affect future opportunities. For example, if you commit to run the spotlight for the upcoming production, but then drop out a week before tech rehearsal, not only are you letting down the rest of the cast and crew, but your teacher may think twice about letting you work on a future show. Your reputation is important—don’t let it haunt you. Be committed. 7. Remember that you are not the only person in this show. You are part of a team. When you miss rehearsal, it affects everyone else. It’s like the butterfly effect—one change creates a series of changes that alters life as we know it. In this case, “life” is the time spent in rehearsal. If you miss rehearsal, time has to be spent to re-teach you the stuff you missed; you might miss out on important notes or big changes; or you might be removed from the scene altogether.