New Directors

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

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?

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

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

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