Production

Most theatre teachers enjoy a good deal of artistic freedom when it comes to choosing a play for production; however, this is not the case for every school or school district. Some schools — both public and private — are more conservative when it comes to what they will or won’t allow on stage. Issues such as language, sexuality, or challenging subject matter can be automatic red flags in the eyes of your school community. How do you navigate choosing a play for production when operating within a more restrictive school environment? Here are three important factors that will help you decide whether or not you should choose a script for performance. Know your community standards.Community standards vary wildly from area to area and district to district. A show that is eagerly anticipated at a public school in a big city may be out of the question in a private school in a small town. Also, consider that content that is deemed acceptable in one district may be viewed as scandalous in the next town over, so don’t assume that just because one school has successfully produced a script, that it would, or should, be accepted at EVERY school. Remember that schools are a reflection of their community, and communities are made up of people. Those people decide what is acceptable, so make sure that whatever you put on stage meets your community's standards. If you are new to an area, take the time to investigate the general moral and social values in your school community, and be prepared to err on the side of choosing less controversial materials. You will have plenty of other challenges vying for your attention in those first few years, so don’t make your life more difficult by picking fights you will not win. Once you and your program are established, you can begin to introduce topics and titles that gently push the boundaries. Communicate with your admin.Your administration can be your biggest ally or your most formidable obstacle. As a general rule, you should get your admin's approval no matter what show you choose, but this is doubly important if you hope to produce a show that might be considered “controversial.” Your best plan of action is to work WITH your admin when selecting a potentially controversial script, and keep them informed of any issues or potential concerns that might arise throughout the production process. If they ask you to change or remove something, do your best to accommodate their request. But keep in mind your obligations to both playwright and publisher! You cannot alter a script without permission; if a lot of cuts are requested you may need to reconsider your choice of script. With that being said, remember: Your admin is the first person the public is going to contact if an audience member was offended or upset by your show. If you have maintained good communication with your administration, it will be easier for them to defend and support both you and your show. However, if they were left out of the loop and get blindsided with complaints about your production, you are in for a difficult time. Request student input.When navigating the play selection process at your school, it’s a good idea to involve your students. Students typically want to push boundaries when it comes to script selection, and will sometimes get upset or frustrated when their suggestions are not taken seriously. Let them know the kinds of guidelines and limitations that prevent certain works from being considered, and then challenge them to help find appropriate scripts that fit within the prescribed guidelines. If there are specific plays or topics that are of interest to your students, but are not school appropriate for reasons such as language or sexuality, ask your students to search for scripts that tackle those issues in a more community friendly manner. This type of search process motivates them to research and read a variety of scripts that they may not have been exposed to otherwise. Additional Reading: Top 5 Rules for Choosing a Play for Performance How to Put on a Play That Your Administration Doesn’t Like Calling All Theatre Teachers: How do I choose a play to keep everyone happy? Calling All Theatre Teachers: How do I Navigate School Rules and Climate Around Production Content?

Welcome to our video series, Calling All Theatre Teachers! In this series we’re going to answer questions that drama teachers have about stepping into a theatre program. QUESTION: Why do I need to apply for rights if I’m not charging for tickets? Watch the video of our discussion of this question — Lindsay shares exactly when royalties kick in for a production. Click the link below for a worksheet to use when you need to apply for rights for a show. Do YOU remember the first time you learned about production royalties?

Welcome to our video series, Calling All Theatre Teachers! In this series we’re going to answer questions that drama teachers have about stepping into a theatre program. QUESTION: How do I navigate school rules and climate around production content? Watch the video of our discussion of this question — Laramie shares one of the things that administrators don’t want when it comes to the content of school plays. Click the button below for a worksheet to help you organize your thoughts on approaching your admin about a play as well as write down notes on your school’s current climate on content. How do you manage a school’s climate for the content of your shows?

The last few weeks before showtime can be weird. The initial excitement has worn off but things are not quite ready for performance, so a lot of rehearsal is spent reviewing and doing things “one more time” even though it’s never just one more time. It can also be stressful, especially if you feel like things are behind schedule or students aren’t in a good headspace. Everyone probably feels tired and unfocused. But don’t let weirdness or stress get you down! Try these tips to get back on the path to a fantastic show. 1. Mix things up. Rehearsal slump may have set in, so it’s time to bring fresh energy into the rehearsal room. Try rehearsing backwards, starting the run at different scenes, doing line runs, or letting your student assistant director run rehearsal. Invite a trusted guest to watch a run-through and give feedback. Sometimes having an audience helps shake things up for students. 2. Rehearse with costumes and props. As soon as you have costume and prop items, add them to rehearsals. It’s too much to try and add them all at once, especially right before showtime. Use rehearsal props if necessary, and definitely have students rehearse in the shoes (link: /blog/need-rehearse-characters-shoes) they’ll be wearing in the show. 3. Review and practice transitions. Messy or slow transitions bring the flow and pacing of a show to a grinding halt. Do not leave this until the last minute. Who does them? Who moves what? What is the cue to begin the transition? Where do people doing the transition enter and exit, and where do the items go once they’re offstage? 4. Choreograph and practice bows. Some directors leave bows until the last minute because they think it’s bad luck. However, like transitions, messy or unnecessarily long bows take audiences out of the moment. Plan them out and practice them whenever you rehearse or run the final scene of the show. Come up with clever groupings for bows so the audience isn’t sitting (or standing!) for ages. 5. Take breaks. It seems counterproductive when there’s so much to do, but even a five-minute water break can help. Make sure YOU take a break too — have students hold their questions and resist the urge to check your emails. Get up, leave the rehearsal room for a moment, and visit the washroom. Take care of your basic human needs! 6. Do run-throughs. By this point you’re hopefully doing run-throughs of the show, or at least one of the acts. Make notes of what needs review or what has been missed during blocking/choreography rehearsals (there’s always something) and schedule time to address that. As well, ask students what they think they need to work on. Work on that. 7. Have your technicians and crew members come to rehearsal to learn the show. Some student technicians only join the show during tech week, and then have to learn the show super quickly, which can be stressful. Whenever possible, have any students who will be working offstage on the show (running crew, stagehands, costume dressers, sound and lighting technicians, spotlight operators, wireless mic assistants, etc.) watch rehearsals earlier in the process so they’ll know in advance what their responsibilities will entail. Have the stage manager call out cues during run-throughs so students will know what to expect. (This is important for onstage students as well! There will be way less confusion when students know they have to pause for a sound effect or exit/enter in a blackout before tech rehearsal, and sometimes this gets missed in rehearsals for whatever reason.) 8. Share something exciting. Maybe you’re having great ticket sales, your show shirts have arrived, or one of your social media posts about the show has gained a lot of traction. Good news is always welcome! If you share good news at the beginning of rehearsal, it can set a positive tone for the rest of your time together that day. If you share good news at the end of rehearsal, everyone gets to leave on a positive note, regardless of how the rehearsal went. 9. Praise your students. We’re all guilty of occasionally leaning too heavily on constructive notes. We know we’re picking apart all the little details because the students are doing a great job and notes help to make their performances even better. But there comes a point when you need to pump your students up, and positive praise can enhance the really great moments. If your student hears you saying “That was hilarious!” or “Great work, that moment was amazing!” they’re likely to apply that same energy to the rest of their performance. 10. Persevere. You’re almost there. Showtime will arrive quicker than you expect. And if things seem bad at the moment, remember that the “theatre fairies” always seem to sprinkle their magic dust and pull things together in the end. You’ve got this! Additional Resources:Tips to Keep Your Rehearsals Focused Round-Up: Dealing With Production Challenges Tips and Tricks for a Less Stressed Tech Week

Whether you’re directing your first school show or you’re a seasoned pro, a well-prepared, well-organized production plan has a trickle-down effect on the entire production process. When you have your plans in order, that creates a feeling of calm confidence that puts your students, teammates, and volunteers at ease, knowing that you’ve got things well in hand. Read on for some tips and tricks for ensuring your next school show is the most prepared yet. Note: Before you begin your planning, reflect on your last production. What worked well in terms of organization and planning, that you could use again for this show? Did anything get missed or left until the last minute? How can you avoid that issue on this show? Choosing Your Show• Be sure to select a show for performance that works for your space, your students, your budget, your audience… and one that you actually like. Here are some tips for choosing a show for a class production. • Get specific about your approach to the script in terms of your overall vision, the setting of the show, and when you’re going to set the show (both artistically and logistically). • Have a plan in place in case your administrators aren’t crazy about the show you’ve selected. • If you’ve selected a show that requires a big budget, you’ll want to start coming up with fundraising ideas right away. Staffing• Shows are a collaborative effort. Make a list of all the personnel you’ll need for the show (artistic staff, designers, crew, etc.) and who you will approach to fill those roles. • If you’re staging a musical, make sure that you’re on the same page as your musical director and choreographer. • Determine whether you’ll take on a co-director, assistant director, or student director. Auditions• Start with the basics: share audition notices, get a location booked, and get your paperwork in order. • Help ease your prospective cast members’ nerves by creating a useful audition waiting area. • Have your rehearsal schedule (link: /blog/creating-rehearsal-schedule) planned out well in advance and available for students to see at auditions. That way they’ll know what dates to keep available, which will minimize conflicts. Rehearsal Process• Rehearsal time is precious; use every minute as effectively as you can and remain focused. • You might want to start pre-blocking some scenes right away to save time. • Make sure you’ve included rehearsal time for transitions, sitzprobe, costume fittings, and other special rehearsals. Don’t forget the curtain call either! • Tech week can be stressful, so get all your technical requirements in order ahead of time. Share with us your best planning tricks and organizational tips for keeping your show in order!

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.)

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

You’ve gotten the go-ahead from your school’s principal to produce a show this year! You have an awesome show in mind that would be absolutely perfect for your students, and you can’t wait to get started. Let’s just grab a script and go, right? Slow down there! It’s not as simple as that. It costs money to produce a show – even the smallest, most basic production. You’ll need to create a budget for your production so you can track where the money is coming from and where it’s going. It may seem intimidating to create a show budget if you’ve never done it before, but let’s break it down into smaller steps. 1. How much is this production going to cost?This is the million-dollar question (or in the case of many school shows, the $1,000-or-less question). The first thing you must do when planning to produce a show is to figure out exactly what you’re going to have to spend money on and how much you think everything will cost. Every show is different and will have different needs. Sit down with your laptop and create a simple spreadsheet. I use Excel. The first column is called Expenditures. In that column make a list of everything that you could possibly imagine spending money on. Consider the following: • Performing rights for the show • You absolutely cannot do a show without purchasing the rights to the production – to do otherwise is illegal! This may also entail purchasing a logo package and video licensing, if they’re available. • Scripts and score – enough copies for all cast and crew members. Don’t forget to include possible shipping costs. • Venue rental if you have to rehearse or perform somewhere other than the school • Insurance if the school doesn’t already cover it • Salaries/wages/honorariums if you are hiring outside professionals to work on your show – such as directors, musical directors, choreographers, fight directors, designers, band/orchestra members. • Costumes • Sets • Props • Hair/makeup • Equipment rentals – this will depend on what equipment your school already has for sound, lighting, spotlights, microphones, video projection, and special effects. • Printing – programs, posters, handbills, sign-in sheets, etc. • Publicity • Miscellaneous – you never know what expected costs might come up! Call the second column Estimated Amount. In this column record how much you think each item in the first column will cost. Some of these dollar amounts will be easily available to enter, such as the cost of performance rights – just check the website of the show you want to produce, and the costs will generally be clearly listed. (Check out Theatrefolk’s awesome collection of plays to get an idea of this!) But for some items, you probably won’t know how much money you’ll need. Sometimes, you just need to estimate. If you think you’ll need to spend more money on costumes than on props, put a higher amount in the costume section. Always estimate on the high side so you’ll have a little wiggle room when it comes to Step 2… 2. How much money do you currently have?This is your starting amount, the money you have right now. This could be money carried over from the last production, the amount of money that your show has been allotted from the school’s budget by the principal or board, or money from a grant or a kind donor. Either way, it’s the absolute minimum amount of cash you know you have to work with. Compare this amount to your estimated total amount of expenditures in Column 2. I’m betting this amount will be a lot smaller. If it’s not – way to go! Order those scripts and start planning for your auditions! For the rest of us, it’s on to Step 3… 3. How much more money can you get?Think about how you can earn or raise money for the show. On a new table (or just below your previous table), create a list of possible income-generating ideas, and how much money you might be able to make from each. Consider the following: • Ticket sales • Will you charge for tickets? If so, how much will you charge? • Will you have a different rate for adults, seniors, students, children? Or will you charge everyone the same amount? • Will any of the seats cost more than others? (For example, will the balcony be cheaper than the mezzanine?) • Will all the performances have the same ticket prices? Or will you offer special deals (such as early bird pricing, student rush, a less expensive “preview night”)? • How many performances are you offering? More performances will give you more opportunities to take in revenue, but will also cost more in terms of your licensing agreement. • What is the capacity of your theatre? • When calculating potential ticket sales, never assume you will sell out every performance. You might want to start with 50% as an estimated number of tickets sold. Consider past performances and how well they’ve sold. • Program ads • Corporate sponsorships • Donations • Grants • Fundraising • Concession/merchandise sales Assume that you’ll receive the smallest amounts possible from each source. This is the opposite of your expenditures, where you assume everything will cost more than you expect. 4. How does it all balance out?Compare the amount of your total estimated expenditures with your total estimated income. Your estimated income minus your estimated expenses is your estimated profit. You don’t need to have a huge profit, but you need to at least break even – which means your expenses cannot exceed your income. If your expenditures are a much larger number than your income, you’re either going to have to reduce your expenses or increase your income. If you need to reduce your expenses, think about what your absolute necessities are versus those items that are just “nice to have.” You also may need to sacrifice something in order to achieve your must-haves; for example, perhaps you can reduce the number of microphones you need to rent in order to have enough money to purchase matching costume uniforms for your actors. 5. Going forward.Add a third and fourth column to your spreadsheet (Column 3: Actual Amount and Column 4: Difference) so you can track the actual amount of money spent, and calculate the difference from your estimated amounts. This will show exactly where you spent/saved money, and help you to plan your budget for future productions. Exercise: Using the steps indicated above, students will pair up and create budgets for their school’s four-performance production run of Agatha Rex by Lindsay Price. They have a cast of 19 actors and a crew of 5 (director/producer, assistant director, stage manager, assistant stage manager, head designer). The school’s principal has allotted them an initial amount of $1,000. All other details are up to the discretion of each pair. Use the tables in the Giveaway as a worksheet. Space is included for any necessary notes (such as reasons/justifications for larger or unusual expenses).

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

Show programs (also known as playbills) are the easiest way to share important production information with the audience. Programs are a method of acknowledging all the hard work done by the cast and crew to bring the production to life. They also make a nice souvenir for audience members after the show. Programs should be visually appealing, easy to read, and succinct, while including all the necessary personnel information and proper credits. Programs can be as simple as a one-page flyer or as elaborate as a fully illustrated booklet. Programs can also be themed towards the production – for example, a production of Newsies might want to make their program look like a newspaper, while a production of Treasure Island might make their program look like a pirate’s treasure map – or in a completely different medium entirely, such as a display board, or even a digital program that patrons can access on their cell phones. There are online resources for creating and printing programs, such as Playbillder, but teachers and students can also create a simple program themselves by using a computer program such as Word or Publisher. Exercise:In this exercise, students will create a traditional printed program for their actual upcoming production or class performance, or they can create a program for a fictitious production. The program will be printed and submitted on a minimum of one standard sheet of 8.5” x 11” paper, folded in half (front cover, inside left cover, inside right cover, back cover). Additional pages are optional. The cover and any images or photographs should be in colour. Spelling and grammar definitely count! What to include: • Show title and graphic (for the cover) • Show dates and times • Location of performance • Production credits (playwright/book writer, lyricist, composer, and any other important credits that were indicated when you purchased the rights to the show – these credits cannot be omitted!) • Director’s note and/or brief summary of the show • Cast list with actors’ names and role(s) • There are many different ways of crediting the performers! • Alphabetical by actor’s last name • In order of appearance • In order of speaking • In groups (for example: “Kansas,” “Munchkinland,” “Forest,” “Oz” in The Wizard of Oz) • Size of role (I try not to use this ordering method if I can help it, as it encourages a “leads are more important than the ensemble” mindset.) • Whatever order you choose for crediting the performers, be sure to indicate this order underneath the “Cast” title, for ease of understanding. • Crew list, including all artistic staff members (producer, director, musical director, choreographer), stage management team members, assistants, designers, operators, band/orchestra members, and additional crew members • Special thanks to anyone who assisted with the production (such as rental sources, dramaturgical assistance, people or companies who donated items or services, financial sponsors, etc.) Optional (include at least two): • Cast and crew headshots and biographies • Scene and/or song breakdown • Principal’s message • Advertising spaces or “good luck/break a leg” messages from friends and family (can be sold as a fundraiser) • Additional photographs (cast, crew, performance photos) • Blank page for autographs • Advertising for an upcoming production or special event

The role of the producer is often a mysterious one and hard to define. No two producers are alike, and each producer sees his or her job differently. In the simplest terms, a producer’s job is to deliver a good show, on time, and on budget. They solve problems that arise, and they are really the glue that holds the production together. Beyond that though, the producer is a valuable part of the artistic team. The producer melds the artistic side of a theatrical production with the business side, ensuring that the vision for the show can actually happen. If the current show is successful, then hopefully more shows can be produced at the school in the future. In many high school productions, the director also takes on the duties of producer, but if another teacher is able to take on the role of producer, it makes everyone’s jobs much easier. As well, many school productions often have a senior student in the role of student producer, which is great thing to do as well – many hands make light work, and it is a wonderful learning opportunity for that student. Being a producer isn’t easy, but it is very rewarding to see the show come together. Let’s take a look at common duties and responsibilities of the producer. Get the show on its feetIn a school setting, producers are generally involved in selecting the show, ensuring it is the best one for their students and the school. They help decide whether the show should be a play or a musical, and ensure that the subject matter of the selected show is appropriate. They present the selected show to the school principal and/or school board for approval. The producer helps to set the production timeline, choose the performance dates and number of performances, and select the location for the show (if it’s not being held in their own school). They apply for the rights to produce the show and ensure the royalties are paid. You can see why in a school production the director and the producer are most often the same person! Get the right people for the right rolesThe producer helps to recruit all theatrical personnel for the show including artistic staff, stage management, designers, and crew members. A good producer knows what students have been involved in previous shows, and can reach out and recruit new students to the production. The producer supports the artistic team and helps them to get their tasks done effectively. They are often involved in the casting process and tend to be the person who is tasked with delivering the “I’m sorry, but you weren’t cast” phone calls or emails. They are also heavily involved with getting people to come see the show – the audience! – through marketing and publicity. Take care of the moneyA large part of the producer’s role involves dealing with money, including setting the budget, fundraising, and determining ticket prices. The producer must keep careful records of all money spent on the production. They may liaise with the school board to deal with reimbursements for any out-of-pocket expenses. They also ensure that the production does not go over budget, and must approve any purchases or rentals needed for the show. Solve problemsA great producer must be responsible, quick-thinking, practical, and able to solve any problem that might arise. From budget concerns to getting program biographies in on time to dealing with students arriving late to rehearsal to solving disputes – the producer deals with all this and more. The producer must be proactive and take steps to avoid problems by showing passion for the production. Their feelings of enthusiasm and support will trickle down to all the students and faculty members working the show, and create excitement for everyone involved. Having an excited cast and crew definitely helps to get the audience excited to come see the show – which hopefully translates to financial success and more shows in the future!

Creating a theatrical production is a group effort. For every student who appears onstage, there are even more students, staff members, and volunteers who help breathe life into the production. Those people are the unsung heroes – they may only appear to the audience as a name in the program, but their contributions are absolutely invaluable. Without the help of a team, the show doesn’t go on. Other than your own drama students and their parents and friends, what other people can you get involved in your production? Why not leverage the talents of the other teachers and departments within your school? Obviously the course offerings at each school are different. But, no matter what classes your school offers, look for any resources you can. You have an entire building full of people – both staff and students – whose talents could be a massive help to your show. Here are some examples: • English/Language Arts/Journalism: playwriting, dramaturgy, script analysis • Languages (French, Spanish, and so on): accent coaching, translations • Music: musical direction and coaching, participating as the show’s pit band/orchestra, adding a choral ensemble • History: studying the time period of the show’s setting, creating background information packages for the participants, advising on historical accuracy for sets, props, costumes, and character development • Visual Art: design and creation of sets and props, scenic painting, poster and program design • Business: show selection, creating a budget, marketing and publicity, running box office/concessions/front of house • Communication Technology: show photography, headshots, creating video projections or publicity trailers, graphic design, advertising, poster and program design, operating sound and lights • Fashion/Textiles: designing/creating/sewing costumes • Esthetics: hair and makeup • Technology: designing sets • Shop: building sets • Co-operative Education: students could receive hands-on learning about many different aspects of putting on a show, depending on the aim of their co-op placement • Volunteer Hours Requirements: some schools require their students to complete a certain amount of volunteer hours to obtain their high school diplomas. The drama teacher could sign off on volunteer hours amassed doing work on a theatrical production. I’m sure there are lots of other ideas that your students could come up with! As a class, brainstorm how different school departments could get involved with the show. Then, create an “ask” letter on how to approach them. Consider the following: • What department are you approaching? • What area do you want them to assist with? • What specific tasks do you want them to complete? • When do you need the tasks completed by? • What are the benefits to the department and/or students for participating? • How can you make this project useful/helpful for them? (Meaning – what’s in it for them?) Here’s a sample letter:Dear Ms. Jenson, We wanted to reach out to you to ask if some members of your Grade 10 Communications class would be interested in assisting our Grade 10 drama class in creating the playbill for our upcoming showcase performance. We are looking for a four-page colour program that includes our poster on the cover, a director’s note, the full cast and crew listing, as well as some performance photos. We would provide you with all the necessary information by March 30, and would need the final draft by April 22. We think this would be a great opportunity for your students to practice their skills using Photoshop and Microsoft Publisher. Perhaps you would consider this project for extra credit towards your class. We have seen examples of the work that your students produce and know they would be able to create a program that looks polished and professional. As well, we would be happy to give the students complimentary tickets to any of our performances (April 30-May 2). If you have any questions or concerns, please don’t hesitate to ask. Sincerely, John McMannis & Chelsea Swinton (Mr. Connor’s Grade 10 Drama class)

Time for a Tfolk Top Ten Plays For….Classroom Production. Are you putting on a play with your class? Do you need flexible casting? Do you need ensemble driven works? Material that’s easy to stage? A show that can actually be rehearsed in a class period? We’ve got plays just for you! 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! Mmmbeth Your class will have a blast with this one. So much fun to do as it takes a twisty turning and gender bending look at the Scottish play. A great piece to teach comic timing to your students. Large flexible casting! 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. This collection is ideal for student directors because each play is a contained piece. Box How do middle schoolers deal with perception? A middle school vignette play with great small scene and monologue opportunities. Flexible casting and it can be run entirely within class time. Anxiety is Orange This play is all about colour. Join the characters as they navigate the world, each other, and the greens, greys, blues, reds, pinks, yellows, and oranges around them. Does orange make you anxious? Vignette plays are awesome for class projects. Everyone gets one scene to perfect. Everyone can be rehearsing at the same time and not waiting around. Myth-O-Logues Pick and choose from this must-have collection of greek mythology inspired monologues. In this play everyone gets a monologue and an ancient greek character to present. Students practice a necessary theatrical form and get cross-curricular! The Perils of Modern Education Got student directors? Give each one a scene to develop in this vignette play. A comedic romp through the stresses and struggles of making it through the school day. The Perils of Modern Education are many! Gender flexible casting, doubling possibilities, and easy to stage. The Bottom of the Lake An awesome combination of ghost stories, urban legends, teen issues, romance, absurd comedy, and film noir, all in a single play. Because this play is divided into scenes, everyone can work at the same time. betweenity This vignette play explores the beats, pauses, and never-ending silences in conversation. An excellent class project play with parts for everyone , at all levels, and a great technique exploration. How do you act in a pause? Letters Have less time but need a class project? Try this Reader’s Theatre play about war. For many wars, letters home were the only form of communication between soldiers and their loved ones. Letters is thought-provoking and character-driven. It’s not hard to visualize these characters reaching out with pen and paper. Pandora’s Fire Everybody knows the story of Pandora. Her curiosity got the better of her and she is to blame for releasing all the ills into the world. But is that the whole story? Work on ensemble acting with your students with this great greek adaptation with a modern twist.

Once a show has finished, the “post-show blues” often hit students. This can have a number of symptoms, including obsessively quoting lines and song lyrics from the show, starting every story with “remember that time during the show,” missing their “show family,” wondering what to do with their suddenly very free calendar, and a general feeling of malaise, funk, or emptiness. These feelings are very normal and will probably affect every drama student at some point during their time in the drama department. If your students are feeling the post-show blues, give them this list to review. Encourage them to complete the items on the list, and see how they feel afterwards. Teachers may find these tasks helpful as well – post-show blues aren’t limited to the students! *1. Allow yourself time to rest and relax *You’ve probably been go-go-go for a while now, between final rehearsals and performances. Now is the time to sit back and rest, and allow yourself to rejuvenate. Take care of your body and skin (especially after very strenuous shows, or shows using heavy makeup), eat some healthy food, drink lots of water, and nap. You need to keep your strength up – it’s common for students to get sick after a show, as they’ve been pushing themselves to the limit and their adrenaline has been on high gear. 2. Get back to “real life”Get caught up on any homework or assignments that you got behind on during show week. Go through your planner and get re-organized. Get caught up on your chores at home. Don’t necessarily jump right into another show right away. You may think it’s a good way to distract yourself from feeling lonely or bored without a show in your life, but it can lead to burnout. Your body and mind need to rest and get back to normal life. 3. Spend some extra time with family and friendsYour family and friends outside the production have probably been very patient with you while you were busy doing the show. Spend some time doing something with them that’s unrelated to the production, and try not to talk too much about how much you miss your show. 4. Think about what you learnedThink about what you learned and what this production meant to you. Did you make new friends? Learn a new skill? Try a different aspect of theatre (for example, working backstage when you normally act)? Reflect on what you’ve learned – you may even want to write about the experience in your journal. *Click the link below * for a free list of journal prompts for your reflection. 5. Thank your fellow cast and crew membersKeep in touch with them. Send them an email or text message, or for goodness sake, pick up the phone and call them. If you’re really missing them, arrange a reunion – anything from a dinner out to a movie night to a simple backyard hangout. (Just make sure everyone is invited – it’s no fun to find out after the fact that only an exclusive few were invited to get together.) 6. Print out those cast photosCreate a show scrapbook. Or upload your pictures to Facebook, share them on Instagram, or create a YouTube slideshow (set to songs from the show, of course). Oh, the memories!

Looking for a real to life drama with a shocking twist? Free by Lindsay Price is a one-act drama that’s great for high school performers and flexible cast sizes. And it all starts with the words “FREE FOOD”… Rhiannon O’Hara and the talented group of student performers at Thomas More College in Adelaide, Australia immersed themselves in the play as part of a year-long project and it seems like their hard work paid off! “A few months ago I purchased the show Free as written by Lindsay Price and this was my Year 10 show for Semester 1. We began the year by reading the play and familiarizing ourselves with the characters and plotlines. In the first school term of 2017 the Year 10’s (Year 10 is 15 years old in Australia) looked at the play in terms of Technical Theatre, we used Free as our vice to explore set design, costume, hair and makeup and publicity. In the second term we brought these to life by actually producing the play. Tonight we performed your show and it was a huge success! For many students this was their first time performing on stage and I am so proud of them, I couldn’t not share their successes with you! We are sending lots of love to you for this show and thank you so much for allowing us all the way in South Australia bring it to life!”

Creating pre-show rituals and routines is so helpful for students. It clears their minds and gets them into their “theatre brains” – the mindset needed to leave their personal issues at the door and concentrate on the task at hand: performing to the best of their abilities and create a fabulous show. Pre-show routines and rituals create a sense of calm and focus. They pump students up and energize them, without getting them to a point of silliness. It’s a focused energy, and a way to bring the cast and crew together as a cohesive unit. One of my favourite and most effective pre-show routines is very simple. First, I get the cast and crew together for a physical and vocal warm-up. I try to leave enough time between this routine and opening of the house for the students to also do their own warm-ups and pre-show preparation as they desire. During the group warm-up, I let the students choose a song to listen to (lately it’s frequently been Disney songs or songs from the Hamilton soundtrack), and we stretch out and dance. This helps the students to warm up their bodies, shake out their nerves, raise their energy, and get the “sillies” out. Sometimes a student will lead the warm-up, which is a lot of fun and gives them the opportunity to grow their leadership skills. After the physical warm-up, we run a vocal warm-up, which can involve humming, scales, and arpeggios for musicals, and tongue twisters and breathing exercises for plays – or even a combination of the two. Then we gather into a show circle for a little pre-show chat. For my last two productions, I had the cast choose three key words to focus on that would drive us forward as a cast. These three key words would then be part of our pre-show ritual during the show circle. For my production of Disney’s High School Musical 2 Jr., we chose the key words patience, teamwork, and confidence as our focus. During the show circle I lead the students in a simple breathing and movement exercise (almost like a set of yoga moves) to help us focus our minds. We included a triangle hand gesture that the students decided would represent the three key words. This pre-show ritual was great because it calmed the students while energizing them at the same time. For my production of Peter and the Starcatcher, we chose the key words volume, diction, and tell the story. Starcatcher is a fast-paced, text-heavy show, and features a lot of storytelling techniques with actors quickly switching roles. Focusing on theatrical basics helped the students to concentrate on making the story clear and the jokes land. We kept the show circle ritual simple – a quiet chat and review of the key words was all this cast needed. Each show and cast is different, and through the rehearsal process it will become clear what your students will need from you, the director and leader, to succeed as a team. Some casts need reassurance and a boost of confidence; some casts need to be pumped up with a burst of energy; some casts are already wired with energy and need calm and focus; and some casts can be cliquey and need to be brought together as a group. Whatever your cast needs, try selecting three key words (or short phrases) to help steer your pre-show routines and create special rituals just for that particular group. And be prepared to change and adapt from show to show and group to group – what worked for one cast may not be right for another. Whatever your group uses to get them in the theatrical mindset, having a special pre-show routine will help bring the students together as a team – and that’s what they need to succeed in the theatre.

If you’re looking for a beautiful blend of comedy and romance, not to mention mischievous fairies and love potions, look no further. Lindsay Price’s one-act annotated version of the classic tale, A Midsummer Night’s Dream set in the Athenian woods is a fun and fantastical way to introduce students to Shakespeare. Tracy Garratt and the talented drama students at A.N. Myer Secondary School in Niagara Falls, Ontario transformed their school courtyard to perform this play and made it a magical night for everyone in attendance. “The students wanted to do something challenging and at the end of last year decided on A Midsummer Night’s Dream. Tracy spent the summer reviewing the script and coming up with some blocking but the theme, colours, props and costuming were all student driven. They decided where the play should be presented and what it should look like. Some of them struggled with the language, being bright kids they thought they could fulfill their comprehension on the fly. But the week before production their understanding of the text led to a real physical connection with their characters. They were so proud of their work they wanted to take home the props and costumes they had made as souvenirs.” Amazing job, A.N. Myer Secondary School! **Photo credit: Rena Burns

Sometimes we get caught up in all the bells and whistles of a theatrical production. Sumptuous sets, elaborate costumes, piles of props, mountains of furniture – they’re all wonderful, but shows can be equally great without them. Many shows achieve success with the actors only using one significant costume, prop item, or signature piece of furniture each, to show their character. The decision to put on a stripped-down production may be because of a tight budget or it may be a stylistic choice, but students and teachers shouldn’t feel limited – selecting the perfect item for your character can open up a world of possibilities for the actor and the show itself. Here’s an exercise you can do with your class – or cast and crew of your show – to explore the challenges and possibilities of using only one item specifically chosen for each character. This can be a theoretical exercise or a practical exercise – instructions are included here for both options. Theoretical1. Each student will select a theatrical piece that they would like to work on; the piece must have at least 10 characters. 2. Read the script and copy out the dramatis personae (list of characters). 3. Assume that all the actors will be dressed the same: black pants, black shoes, and black shirt. For each character, select one costume item, prop, or piece of furniture that best complements that character. 4. For each item: • Describe the item. • Include a sketch/clipping or swatch/photograph/image of the item. • List two-three points per character that explain WHY you chose this item and how the character would use the item. Practical1. Students sort themselves into groups of three to four. Each group will select a theatrical piece they would like to work on, read the script, and select a scene from the play that they would like to present. Make sure that there are the same number of students in the group as characters in the scene. 2. Students will cast the scene amongst themselves, block the scene, and memorize their lines to present to the class. 3. Each student will each select and acquire/make one costume item, prop, or piece of furniture to use in the scene that best complements their character. 4. Each group will present their scene to the rest of the class. For the presentation, students will wear black pants, black shoes, and a black shirt. They will each use the costume, prop, or furniture piece they selected for their character and no other item of props, costumes, or furniture. 5. Upon completing the presentation, students will each submit an individual Reflection.

The thumping of a heartbeat. The creek of a door. The howl of a bitter wind. The gong of a clock tower. The clang of alarm bells. The sound of beating wings getting closer and closer… The students at Cook High School in Adel, Georgia celebrated many of Edgar Allen Poe’s best known works through Shuddersome: Tales of Poe. This vivid and theatrical classical adaptation by Lindsay Price proved to be an excellent opportunity for the students to each direct their own scene. Teacher Jeremy Williams was thrilled with the results: “The masks were the students’ idea, as was the V of chairs for The Raven. I’m giving them freedom to create, and trying to guide them without taking over.” The student directors were also eager to share their thoughts on the production: Amanda H. (director of The Raven): “Because I’m usually the stage manager of the productions our troupe puts on, I’m sort of used to directing my technicians, but directing the blocking and movement is definitely different. Even coming up with what to do next is a bit of a challenge; getting everyone to do it without getting a ton of objections or other suggestions is an even bigger challenge and the most frustrating.” Katie S. (director of The Oval Portrait): “For me, being the director is straying very far from what I’m used to doing. I’m used to being the actor on stage but when Mr.J asked me to direct a show for the class I knew it would be a learning experience. I personally love this show because instead of throwing a student headfirst into a full length show, it’s very easy to separate and give many students the opportunity to see what directing is like. It has been challenging at times but I appreciate that it is helping me grow as an actor and as a leader. I’ve had to learn that my opinion isn’t always the deciding one, in fact many of my cast members have had many great ideas that we have implemented into our show. Directing this show has led to a great story full of creative expression and fun, and I am very happy with our progress so far.” Kristy B. (director of The Bells): “It has been a learning experience for me; I haven’t really been a part of theatre in the past so it’s very different. However, I enjoy who I’m working with for the most part. The only trouble I have really faced is trying to keep them on task without being hot-headed. To me we are a team that has to work together to be successful. I can safely say it has been a great learning experience for me and my team.” Amazing efforts and results, Cook High School! *Photo credit: Jeremy Williams

Among Friends and Clutter by Lindsay Price presents a montage of characters who experience the most important relationships in life: friends, family, and love. Starting with seven classmates, the play explores what they imagine their lives will be, and shows what their lives eventually become. They grow, succeed, and sometimes fail. Students love this play for its well-rounded characters and its wealth of comic and serious moments. The drama group at Tallmadge High School in Tallmadge, Ohio took on this high school character-driven dramedy and we think the results are picture perfect. Check out their production photos to see how they brought this play to life! Great work, Tallmadge High School! *Photo credit: Brin Charek