Production

The highs and lows that teenagers face are truly universal. The students at the American International School in Hong Kong recognized this fact and selected Sixteen in 10 Minutes or Less by Bradley Hayward to showcase their talented student directors. As drama teacher, Susan Holt says “This was a totally student directed project, so a huge achievement!” Student director, William Wong, reflected upon his experience as both an actor and a director and offered some advice to future performers: “As a director, you should always stay focused and lead, you must stay organized and always expect to multitask with the amount of work you should be expecting. Write down and draw out stage movements, character notes, queues, lights and sound. It’s impossible to get everyone to like your decisions, you must follow your heart. Even if the entire world ask you to compromise, your job is to plant yourself like a tree and ask them to compromise. As an actor, do not procrastinate, there are too many lines and movements you need to remember. Listen carefully to your director’s advice, but always leave yourself room to discuss with the director because director isn’t always correct. The preparation is never enough, so learn your lines and constantly run your lines with the people in the scene you’re in charge of, so in the actual performance day you won’t be nervous.” The lives of seven teenagers become intertwined in this humorous and oftentimes bittersweet collection of ten minute plays. From extracting a gummy bear out of a new set of braces to coping with bullies, these characters share their innermost hopes and fears with each other, ten minutes at a time. As the audience drops in on these intimate moments, they will come to understand that being sixteen isn’t always easy. Congratulations on a great job, American International School in Hong Kong!

We asked drama teachers: How do you address scheduling conflicts? Between sports and students’ activities, how do you ensure that your rehearsals are attended and your students are prepared? Let’s hear from teachers on the front lines. Schedule, Schedule, and more Schedule.Kathleen S. says, "I give all rehearsal dates and times prior to auditions and they turn in a conflict sheet at auditions. Then, I build the actual schedule around the conflicts in order to minimize the number of missing students." Tatiana B. says, “I put our rehearsal schedule, especially tech and dress in the school calendar as early as possible!” Sarah P. says “Students submit availability upon auditioning based on a detailed calendar in their audition packet. I do my best to schedule them for their rehearsals around their other school-based and religious commitments.” Get commitment up front.Roxanne F. says, “Get learners and parents to sign that they agree to all rehearsals on an audition form.” Lisa T. says, "I give students a detailed schedule of dates and times in a contract that is to be signed by both parent and student.” Collaborate with other school groups.Josh H. says, "Work with the other clubs and sports to know when all major tournaments and events are scheduled before making a detailed rehearsal calendar. This pays off huge in the long run." Melanie F. says, “For students involved in other activities, I work with the other teacher sponsors as much as I can. Cooperation and clear expectations are so important.” Susan B. suggests “If you are able to use the same weeks every year, it also helps. If the whole faculty and coaches know for example, that the third week in May is your tech week, they can cooperate better.” Geoff D.M. says “We work with the local sports clubs. We try and get them onside early and avoid weekend rehearsals where possible.” Find creative solutions.Jody P. explains, “Maybe you can’t be in both the fall and the spring musical because you want to play tennis. I’m sorry, you’ll have to choose one - but I can still use you on my stage crew that I won’t need a lot of until tech week.” Roxanne F. says “Double casting also works well because the learner who misses can catch-up in their own time with the help of the other cast members.” Be tough when necessary.Chris E. says, “They know in advance what the schedule is. Can’t make it? See ya next audition.” Stephen P. says “I tell students that “if you are called then my expectation is they should be at rehearsal” If they miss I’ll say “you missed rehearsal, you better figure out what you missed”. Yes I try to sound mean or disappointed but in a way they know it’s not too serious. The closer to opening it becomes a bigger deal and they will know they are letting down their cast mates.”

In theatre, a transition refers to the process of moving from one scene or set to the next. It seems simple enough–grab “all the stuff” at the end of one scene and take it offstage, while the rest of the “stuff” gets brought on for the next scene. Unfortunately, many directors overlook transitions and don’t stage them until later in the process. This results in rushed, sloppy transitions that take a long time to happen. Add to that the potential for missing set pieces and props, as well as ones that are moved improperly or left onstage. Sloppy transitions are one of my biggest pet peeves in theatre. Audiences are stuck in a dark theatre waiting for something to happen, while actors and stage crew scramble about to get everything moved around. Here are five tips for transitions – how to add them into your show and what things you need to consider when working on them. 1. Start early and make transitions part of the scene.Block and/or choreograph transitions as soon as you block a scene. This way, transitions are taken care of right away and can be practiced frequently. Have students go through the motions of bringing on and removing items, even if the props or set pieces aren’t yet available to use. Think of blocking and choreographing transition work just like choreographing dances or stage combat. They are a necessary part of the show–while not as glamorous, they are important for keeping up the pace and flow of the show. 2 .Make it very clear who is moving each item.Will a stage crew do the transitions, or will actors assist? Or are the actors solely responsible for transitions? Will actors move props while stage crew move sets, or will it be a mix of both? When blocking transitions, have your stage manager AND those students responsible for transitions write down exactly what they are doing, when they are doing it, and how they are doing it. And on that note… 3. How are transitions done?Transitions can occur in so many ways. They can be simple, intricate, creative, or no-frills. Some transitions are done in simple blackout, and some are technically complex. What works best for your show? Do actors move items in character or not? How will stagehands move items? Are the transitions done in blackout, or in full view of the audience? Will you close the curtain in between scenes? Will you have full blackouts onstage or just dim the lights? Where will items be moved and stored–left, right, centre? Someplace else? How can you best organize movements so traffic jams are avoided? Is there music or underscoring? Do transitions occur while scenes are still going on? Will the stage crew wear standard crew blacks or be in costume? (I’ve seen both!) Will you add mime/tableau/dancing in front of transitions for interest? Don’t forget to have someone available to “page the curtains” during transitions–this is holding the curtains back so props and set pieces can be smoothly brought on and offstage without damaging the curtains, then swiftly closing them afterwards so the audience can’t see backstage activity. This person could be an assistant stage manager, another member of the cast, or another available crew member. 4. Allow time to practice transitions.Rehearse transitions during blocking rehearsals, and especially during runs of the show. Ensure that all students doing transitions (whether or not they are actors or stagehands) are called to those rehearsals. Doing cue-to-cue (or Q2Q) rehearsals are useful for making sure transitions are quick and clean, and are done in time with lighting changes or music/sound effects, if applicable. The pacing of a show is so important–you don’t want the audience to be absorbed in the performances and then suddenly jarred back to reality with long, drawn-out transitions. Practicing in advance also allows students to inform you of any concerns (for example: being scheduled to do a transition while they are also trying to do a quick change, getting caught in a furniture traffic jam, or having props/set pieces end up in the wrong places). 5. Simplify.If you find that transitions are just taking way too long and aren’t working, is there a way you can simplify the process? See if you could reduce the number of props, use furniture that could work in different ways, and create reversible set pieces. For example, you could use the same table in many different ways by adding or removing tablecloths, using different chairs, or decorating with small items like flowers or vases (which take up way less room than a second table). One couch could be made to look different by adding a slipcover, throw blanket, or decorative cushions. Many scene changes can also be achieved with different lighting looks. If you cannot reduce the items you have, then you may need to add some additional crew members to your team. As the saying goes, “many hands make light work.” Adding even one more stagehand can help transitions occur much more easily. You may wish to assign stagehands to always move the same items in different scenes. For example, one stagehand is always responsible for moving tables and chairs, while another stagehand is always responsible for hand props and smaller items. Good transitions are smooth, flowing, and keep the pacing of the show. A little bit of advance preparation and practice goes a long way to making your transitions great ones!

Trying to find your place in the world as a teenager can be tough. We all have our stories. “New and old, complete and untold.” The high school drama, Anonymous, is a story of every teenager: trying to fit in, trying to belong, trying to fall in love. The teenagers of Anonymous have no names because they are “Me” and “You.” They are everyone. It’s hard to be an individual when you’re trying to survive. The students at Almaguin Highlands Secondary School in South River, Ontario put on a special performance to mark International Day Against Homophobia for their school board. They were in an incredibly fortunate position to be directed by teacher and playwright, Allison Green , who definitely has a special connection to this play! Photo credit: Noah Looby

It takes a community to create a great production, and theatrical performances would not exist without the time, skills, and talents of dedicated crew members. From costumes and props to sound and lights to front of house and stage management (and everything in between), crew members are the heart and soul of a production. Their creativity, passion, and hard work are invaluable to every show. So where do we find these amazing people, and how can we get them on our team? Let’s brainstorm! Where can you find potential crew members?• Your drama classes! (Make it a requirement that students must volunteer a certain number of hours doing crew work in order to pass.) • Other classes at your school, such as: • Communication technology classes (like recording) for sound designers and operators • Design technology, manufacturing, and carpentry classes for set pieces, props, and furniture • Art, photography, and graphic design classes for designing and painting sets, as well as creating programs and publicity images for social media • Esthetics classes for hair, wigs, and makeup • Fashion and sewing classes for costumes • Business and marketing classes for production and box office duties • Co-op students can take on a variety of roles depending on their area of focus • Talk with fellow teachers to see if projects could be done for class work or extra credit • Siblings, parents, and other family members of the students currently involved in the show • Friends from other schools of the students currently involved in the show (perhaps you can sign off on volunteer hours for them?) • People involved in community theatre in your city • Students from nearby colleges/universities/professional schools looking to gain practical experience ( For example: For a production I worked on that was set in the 1950’s, we had students from a local hairstyling school create time-appropriate hairstyles for the students in the show and teach the students how to do them on their own.) How can you recruit crew members?• First and foremost: Ask! Get out there and ask people to help out. Speak to students in person during class and on breaks. Send an e-blast in your school’s newsletter. Post on your school’s social media accounts. Post flyers on your school’s bulletin boards. • Get students to help recruit crew members. They are your best resource for meeting more great students. Use the recruitment reflection exercise below to get students involved in this process! • Offer extra credit, letters of support/letters of reference, or sign off on volunteer hours to students who work on productions. • Reach out and make connections with drama teachers at other schools and members of community theatre groups. • During auditions, include a crew recruitment note in your audition information sheet to see if students are interested in crew roles. (Make sure not to make students feel like being in the crew is a consolation prize if they are not cast in the show. Emphasize the importance of the crew roles and how essential they are to making the show happen!) • Check your personnel files and reach out to students who have worked on past shows. • Does your city have an online theatre network? If so, create recruitment posts. For example, in London, Ontario, there is a Facebook group called “London Downtown Theatre Online” and a website called “Theatre in London,” both of which are fantastic for advertising local shows as well as recruiting potential volunteers. If there isn’t a similar network in your city, then create one! • Get student actors in your show to assist with crew tasks. Actors can help in a multitude of areas: helping with creating/finding costumes and/or props, scenic painting, and publicity for starters. There’s nothing wrong with student actors taking on double duty. • If students can’t commit to coming to rehearsals but still want to be involved in the production, give them tasks that they could work on at home or during spare periods at school. For example, a student interested in costumes may not be able to help with dressing actors during the entire run of the show, but perhaps they could do a smaller project such as sewing one costume at home, helping with costume laundry, or hot-gluing gemstones on a crown. Or, a student who is interested in marketing could create and pre-schedule a series of Facebook and Twitter posts to advertise the show. Think creatively and delegate jobs to as many students as you can.

There comes a point in every rehearsal process when the dreaded “rehearsal blahs” start to set in. This tends to be mid-way through the rehearsal process, when the initial excitement of casting and read-throughs has become a thing of the past, off-book day has just happened (and the resulting stumble-through of the show was not pretty), and opening night seems like it’ll never come. This is the time of endless refrains of “do it one more time” and lectures about “if you don’t practice at home, it won’t be as good as it could be.” What’s a director to do?Next time you’re feeling the rehearsal blahs sneaking up on your cast, try this exercise called “Warm Fuzzies.” Many of my director friends use this in rehearsals and it never fails to brighten up a student’s day! The exercise is called “Warm Fuzzies” because it’s meant to make students “warm and fuzzy” inside upon receipt. The purpose of the exercise is for students to observe other students contributing positively to the rehearsal process and compliment them anonymously on it. This helps students to shake off the rehearsal blahs by refocusing their energy (giving them a small, different concept to think about other than the show itself and stressors that go with it) and giving them opportunities to both demonstrate good rehearsal behaviour and to catch others doing the same. At your next rehearsal, have a jar or small box available with small slips of paper and some pencils beside it. This is the Warm Fuzzies container. Bonus points if the container is decorated! During your rehearsal (when students are not onstage rehearsing or otherwise engaged), encourage students to quietly observe the actions and performances of their peers. During break time or when they are not working, students will write a positive note or a complement to another classmate on a slip of paper and put it in the Warm Fuzzies container. Students should not write their own names on the slip–the point is for the notes to be anonymous. Warm Fuzzies can be great for onstage performances or positive contributions to the class. Examples of Warm Fuzzies might include: • Devon always arrives early and helps to set up the rehearsal space. • Jenny did a great job projecting her lines. They were really clear and easy to understand, even when I was sitting at the back of the audience. • When he wasn’t onstage, Mark helped other students with their lines. • Sam was quiet and focused backstage. • Jeremy helped another student review choreography that they missed. • Mika’s accent was so funny; it made her really stand out onstage. And so on! At the end of class, take five minutes to select some Warm Fuzzy notes and read them aloud to the group. This exercise can be repeated at as many or few rehearsals as you wish. The Warm Fuzzies exercise can also be useful in the drama classroom to complement positive class contributions and skill improvement. Optionally, you may wish to collect all the Warm Fuzzy notes and give them to students on closing night or at the final class, as a souvenir of the process. Note: It’s important to keep track of the number of Warm Fuzzies that are given/announced out loud to the same people over and over, to ensure that students aren’t feeling left out. If you have a student acting as Assistant Director or Stage Manager, you might encourage them to keep an eye out for opportunities to create Warm Fuzzies for those people who may not have received one yet. Teachers and directors are encouraged to write Warm Fuzzies as well! During the rehearsal process, once a student has received at least one Warm Fuzzy note, they will complete a written reflection, to be submitted to the teacher.

Last semester, one of my classes consisted of a group of students who had little theatrical experience. Most of these particular students had never performed onstage before. They were eager and enthusiastic, but as we got closer to our final showcase performance, the nerves really started setting in, and their anxieties came flooding out in the form of what seemed like a million “what if” questions. During one class, it seemed like every student’s fears came bursting out, all at the same time: “What if I got sick and had to miss the showcase?” “What if I fell and broke my leg before showcase?” “What if I get to showcase and I forget all my lines?” “What if my scene partner is sick on showcase?” “What if I forget my costume shirt?” “What if I throw up during the showcase?” I had to laugh a little, because the questions came at me so quickly and fervently. At that moment, my poor students looked like they were going to faint from worry about all these hypothetical, but in their eyes, catastrophic events that might occur. And it almost seemed like my students were making a game of the “what if” questions, trying to “one-up” each other by describing increasingly distressing scenarios: “What if one of us was hit by a bus on the way to the showcase?” “What if one of us DIES before the showcase?!” (In that extremely unlikely case, we’d have much bigger issues to deal with.) It took some quick thinking, but I was able to help my students with their fears to the “what if” problem with a five-part solution, as follows. Feel free to try these ideas with your students, if you see or hear nerves taking over! 1. Introduce and/or remind students of the concept, “THE SHOW MUST GO ON.” Aside from “break a leg,” “the show must go on” is probably the most common theatrical motto. It means that no matter what happens, the show will be performed in some fashion. The cast and crew must bond together, assess the situation, come up with a solution, and take steps to enact that solution, while remaining calm at all times. 2. Brainstorm possible solutions. Next, turn the questions around on the students by asking them, “What do you think we might do in this situation?” Have students brainstorm ideas that might help solve the hypothetical problem at hand. For example, “What happens if someone gets sick before the showcase?” The absolute worst-case scenario would be to cancel the show, so eliminate that as an option right away. Possible solutions might include: • Seeing how sick the student is just before the show and see if they can perform anyway. • Having an understudy in place. • If the role is double-cast, sending the alternate actor onstage. • Having a member of the ensemble play the role “on book” or “with book in hand” (aka going onstage with a script). • Planning out who will cover the missing student’s transitions as a group before the show. • If the student’s illness is that they have laryngitis or have lost their voice, having someone sing/speak their lines backstage while the student mimes the role onstage. • An assistant stage manager or member of the staff plays the role. • Starting the show a few minutes late if the student is feeling better. Right there, are eight possible solutions for the hypothetical sick student. Your students will have even more ideas. 3. Act out possible solutions. Once your students have brainstormed some different solutions, have students get into small groups of 4-5. Each group will receive a “what if” situation, and the groups will create two brief (1-1:30 minute) scenes. The first scene will be a silly, over-the-top solution, with the purpose of trying to make the class laugh. The second scene will be a more realistic, practical solution, that could actually be enacted should the situation actually occur. Each group will present their scenes to the class. If time allows, encourage discussion of the solutions afterwards. What solutions were the most practical? What solutions would be the easiest to enact? 4. Share some of your own stories. I think every director has had some sort of “horror story” that has happened to them during their time in the theatre. For example, I have experienced not one, but two power outages during two different shows. Fortunately, both had happy endings with the show going on in the end. For one show, we brought in emergency floodlights from the wood shop and were able to finish the show, and for the other, since it was a nice summer day, we planned to perform outside of the theatre in the courtyard–but then the power came back on, and we were able to perform in the theatre (albeit two hours behind schedule, but the show still happened!). Share these stories with your students and particularly focus on the creative solutions you and your cast/crew employed to keep the show going. 5. Encourage positive thoughts and healthy habits. It doesn’t do to dwell on the negatives, and remind your students of that. Yes, it’s normal to have worries, but by focusing on all the “what ifs” that might happen, students can’t truly engage in the process. Encourage students to journal about their worries if they still occur, but to also come up with ideas on how to overcome the hypothetical situations. As well, encourage your students to take up healthy habits, such as getting enough sleep, eating well, using their planners to keep their schedules in order (which helps avoid stress and double-booking), avoiding situations such as participating in extreme sports or screaming their guts out at concerts right before the show, getting their acting bags/costumes organized ahead of time, and drinking lots of fresh water. Focusing on self-care can help to ward off stress, illness, and injuries. Healthy students = a more successful show! Good luck!

We asked drama teachers: What are your tips for bringing shy or hesitant students out of their shells? Do you let them have the time they need to get comfortable participating, or does it work better to put them on the spot and show them they can do it? Let’s hear from teachers on the front lines. Build trust.Jim M. says “Ask the student what he or she cares about, loves to do, etc., and then see if you can find a play about that subject. Let the student read it and pick a character she or he would like to try out as an acting exercise.” Josh H. says “Kids need to trust that the environment is safe. In my experience, shyness is a defense mechanism so I always work to build relationship to figure out what the needs are and then how we move forward from there.” Focus on the ensemble, not the individual.Eileen H. says “Build a strong sense of ensemble then start physical skills. We do a lot of ensemble building games where no one has to stand out and then our first performance unit is pantomime in a group.” Kathy D. says “Give them opportunities on stage in a scene that they don’t have to drive the action but be a part of a scene that is well received in class helps to build their confidence.” Give them time.Kayla W. says “We start the year with improv games and I won’t call on students at first. Students will volunteer and the hesitant students will take it all in until they are comfortable.” Kathy D. says “Be careful not to label a student as shy because you don’t know their underlying spirit. Give them a safe stage and let them learn to love acting. It might be that they are not as shy as they are afraid of being laughed at and ridiculed.” Embrace the goofy.Denise E. says “I demonstrate and get them laughing. If they see me being a goofball they’re more likely to give themselves permission to do the same and not make so much of it. Play the play.” Rachel W. says “Try exercises/games where everyone is doing the same action, silly or not, at the same intensity.” Take the lead.Stephen H. says “Don’t ask for volunteers….ask that particular student to lead an exercise, or be the lead…” Debb A. says “Give the students honest, specific feedback with a strength and a weakness. And to some students, the strength would be the courage to do X (you pick) or lack of hesitation when getting on the stage, etc.” Empathize.Cassie M. suggests “Explain the difference between fear and danger – when you’re new to something as socially risky as theatre, your brain gives you the same panicky signals as if you were being chased by a bear. The bear is danger; being on stage is fear. The more you get on stage and stay there, even when you’re afraid, the more the brain learns that you don’t die being up there.” Join the chat on our Facebook Page and add your own experience to our list!

From Kingston to California, drama teachers everywhere deal with similar concerns with their drama students and their theatrical productions. Here are five common rehearsal problems, rapid-fire style, with solution suggestions! 1. Constant, never-ending talking (it’s enough to drive you bonkers). • Give students a minute or two of “talk time” before you get into rehearsal mode. • Do a warmup that lets students talk (or forces them to talk) to get it out of their systems. • Only call to rehearsal the students who are in the scene you’re working on, so others aren’t bored. • Mix up what you’re rehearsing in one session to keep students on their toes. For example: One hour, review vocal music. For the second hour, work on choreography. • Have a signal or ritual to indicate “quiet down.” • Sit and stare at the ceiling until students stop talking; then remind them how many rehearsals are left until opening night. • Take a break–for your sanity and theirs. • “Let’s practice being quiet in rehearsal so you can prove you’ll be quiet backstage.” • Have the cast sit onstage, in total silence, for thirty seconds. After the thirty seconds is up, ask them how they felt. Then remind them how long your show is. 2. The dreaded phone issue–students always on their cell phones. • Rule – Rehearsal is a phone-free zone. • If phones are found in rehearsal, the teacher/director or stage manager is allowed to take them away until the end of rehearsal. • Have a hanging shoe pocket rack on the wall for students to put their phones in OR phones get lined up on the director’s table OR have a “phone jail” box where students put their phones in and then retrieve them after rehearsal. • Optional Addendum – Phones are not permitted in rehearsal but books/magazines or homework are allowed between scenes. • Alternative – Phones are permitted in rehearsals (kept on silent mode), as they keep students not onstage at that moment quiet and occupied. However, if a student misses a cue or entrance, the phone goes into “phone jail.” 3. Students frequently losing their script or personal items. • Rule – Scripts and personal items must be labeled with students’ names, and valuables should be left at home. • Charge a penalty fee for replacement scripts. • Assign a consequence (like push-ups or cleaning the rehearsal room) to earn back a script or personal item left behind after rehearsal. 4. Students leaving the rehearsal room a mess. • Rule – Nobody leaves until the rehearsal room is tidy. All students and staff help clean up. Don’t leave it for the director or stage manager to tidy the room. • Option – Create a rotating clean-up schedule so every student has their assigned day to help tidy. • End rehearsal five minutes early so there is enough time for students to help put the rehearsal room back the way it was. • Have clearly labeled areas for rehearsal furniture (chairs, rehearsal blocks, benches, etc.), props, and costumes, so everyone knows where items need to be returned. 5. Never having a full cast in the rehearsal room at once. • Have a clearly laid out rehearsal schedule in advance, and a strict deadline for giving conflicts. • Schedule specific rehearsals around known conflicts if you can (i.e. don’t plan to choreograph “Bushel and a Peck” from Guys & Dolls if you know Miss Adelaide and the Hot Box Dancers are absent that day). • Set a certain number of rehearsals as “blackout” dates that are absolutely mandatory (not being able to attend blackout dates prohibits a student from participating). • Determine your attendance and lateness policy (three strikes?) and stick to it. • Explain procedures and consequences for missing rehearsal (students must get caught up on missed material on their own time; consequences for a missed rehearsal may include lines being reassigned or removing that student from the choreography/scene). • Double-cast roles, or assign understudies. • Give students tips for time management.

From Shakespearean tragedies to zombie thrillers, stage blood can be an exciting addition to a show–it adds a sinister realism to dramatic moments, and really makes the audience gasp with surprise when they aren’t expecting to see it. However, using stage blood can be challenging, no matter how experienced your cast and crewmembers are. Here are five tips to consider if you are thinking about using stage blood in a show. 1. Seek guidance from a trained fight director. I strongly advise seeking assistance from a trained fight director before using stage blood in a show. He or she will be able to assist with determining how much stage blood is needed, acquiring the stage blood (and help you to get a good quality product), and advising how to use it safely. They can also help you obtain the accessories needed to use the blood (squibs, blood packs, syringes, etc.) and train you and your students on how to properly handle it. They can also choreograph the scene where the blood is used to make it look exactly the way you want it, but keeping the students safe at all times. 2. Test out your recipes. Recipes for fake blood are easy enough to find but they vary in quality. Some recipes make blood that is thin and watery, thick and gloppy, or even lumpy and gross. Some recipes claim to be easy to wash out and/or edible, but there are no guarantees! If you do end up making stage blood from a recipe, always do a test run of the blood on a garment that is a similar material to what your actors will be wearing (but that can be sacrificed in case the recipe doesn’t work). 3. Don’t swallow it! Many varieties of stage blood are not edible. On top of that, some are made with glycerin or soap-like products, which are great for removing stains, but will cause upset stomachs if swallowed. If an actor must have stage blood in their mouth or swallow it, you must ensure that it is food-safe. As well, ensure that the actors working with the stage blood do not have any allergies or skin sensitivities that would worsen by coming into contact with the stage blood. 4. Consider the technicalities of using stage blood. This is the most obvious point, but know that you (or your costume team) will be doing mountains of laundry. Even the best quality stage blood will stain if it isn’t washed immediately after the performance. Unless you’re willing to do all the laundry yourself, you will want to assign a laundry crew who is responsible for washing all the items in between shows and bringing them back promptly for the next show. Perhaps family members of the students involved may be willing to sign up for a rotational laundry schedule. You may want to have a bucket of soapy water backstage (in a safe place, where it won’t get accidentally knocked over) so bloody costumes can immediately be removed after the scene and soaked until they can be taken away and washed. If you have two-show days, you will have to do laundry in between shows, or have a second set of costumes available. Ensure the costumes that will get the bloodiest are the most washable and durable you have. Be wary of clothing with lots of beading or lace–those items will be incredibly difficult to wash. Don’t presume that just because an actor doesn’t work directly with stage blood that they won’t get blood on them too. They may have to lift, dance with, or be in close proximity to those actors who are bloody. Backstage crew members aren’t safe either–stage blood has a way of getting everywhere. Think about the colour of the costumes that your actors are wearing. If an actor is wearing black, is there any point for them to get bloody when the redness of the blood won’t be visible? In that case, a water pack could be substituted, to show the wetness of the “blood” without the sticky mess. On top of the piles of laundry, your actors will need to ensure they have undergarments that they are willing to get bloody as well. Stage blood will soak through the costume and get blood on actors’ undergarments and skin, which can stain. Actors and props team members who are handling the stage blood will need to wash themselves and any personal items quickly, thoroughly, and frequently to avoid looking like a tomato. Stage blood can also be a hazard onstage, especially if it lands on the floor. You’ll end up with a slippery, sticky mess that will get tracked everywhere if and when actors cross the stage and step in spilled stage blood (not to mention trailing hems of long skirts, which will become wet, sticky, and heavy as well). Your stage crew will need to mop the stage thoroughly and immediately after each show, and depending on the extensiveness of the blood in the show and when it occurs, you may need to mop in between scenes. If that is the case, your team will have to work very quickly to ensure that the transition is not too long, and your actors will have to be doubly careful not to slip on the newly clean but still wet stage. 5. Consult your actors before using stage blood. Even though it’s fake, using stage blood can evoke some deep-seated fears and stress from your actors. Speaking from experience, I was really scared the first time I used stage blood in a performance. It can be frightening for the other actors in the scene as well, even if they aren’t the ones getting bloody. Humans have a visceral fearful reaction when they see blood, and it can bring out feelings that your students weren’t expecting. If your students express discomfort with using stage blood, see if there is an alternative–or remove it from your production altogether. Kerry Hishon is a director, actor, writer, and stage combatant from London, Ontario, Canada. View her blog at www.kerryhishon.com.

It’s a situation that directors hope never to have to face, but unfortunately it happens: an actor, for whatever reason, has to drop out of the show at some point during the rehearsal process. While we don’t like to think about it and hope it never happens to us, it’s best to be prepared in case it does happen. Here are some tips for dealing with losing an actor in your production. 1. Temper your reaction to the student who has to leave and their reason for leaving. It’s fairly easy to look past reasons like illness or a family emergency. Other reasons can be more frustrating to deal with (like quitting because they don’t like their role, leaving to pursue a different extracurricular activity, or having to drop out because their grades are slipping). Do your best to be supportive to the student who has to leave. They probably did not come to this decision lightly, and they are likely worried about letting you down. 2. Figure out how to cover the role. Before telling the rest of the students involved about the loss of the cast member, you will need to figure out how to cover that student’s role. Here are some ideas to consider: • If the role is double-cast, will the other actor assume the role fully? • If the role has an understudy, will they be called up to assume the role? (If so, will another actor have to assume the understudy’s current role?) • Is there another cast member who can take on the role? (Either instead of or in addition to the role they are currently playing?) • Will you have to bring in a new student to cover the role? • Can the lines be divided up and assigned to other cast members? (Remember: the playwright must approve any changes to the script in advance!) • Can the role be eliminated? If so, how does this affect blocking or choreography? • For more tips about dealing with not enough actors, check out this blog post. Be sure to have your plan in place before you inform the rest of the cast. However, if your solution involves a large casting change (like an understudy being called up), be sure to speak privately to the student beforehand, to ensure they are comfortable with the change. 3. Determine how to inform the rest of the cast and crew about the change. Be aware of how you approach the topic with the rest of the students. Informing the cast and crew has to be on a case-by-case basis. You’ll need to discuss this with the student who has to leave (and sometimes with their parents, depending on the situation). It’s best to err on the side of privacy (“unfortunately Susan has had to step away from our production”) and take a positive approach. Focus on the solutions and describe your plan of attack going forward, while expressing consideration for the student who had to leave. Classroom Activity: “Negative/Positive”Divide students into pairs. Each pair will have 10 minutes to create two brief scenes. One partner will play the actor who has to drop out of the show, and the other partner will play the director who has to react to the student leaving. The first scene will illustrate a negative reaction on behalf of either the “actor” or the “director.” For example, a negative reaction on behalf of the actor might involve them quitting because they don’t like the part they got, or being upset with how the director reacted to them quitting. A negative reaction on behalf of the director might be yelling at or berating the actor for leaving, or telling the rest of the cast the private reason the actor left. The second scene will illustrate a positive reaction (again, on behalf of either the “actor” or the “director”), showing how the first scene could have been handled in a better way. Scenes will be presented in front of the class. If time permits, allow students to discuss what each pair did well, and other methods/approaches that might work. Students will complete an exit slip question afterwards.

Many people deal with body issues but what happens when your body has issues with you? In the one-act comedy for high schools, Body Body by Lindsay Price body parts come to life to take charge and keep Madeline feeling insecure. But she doesn’t want to feel bad about her body anymore. It’s time to fight back. Shane Stewart and the group of student performers at McKinley Middle Academic Magnet and School for the Visual and Performing Arts in Baton Rouge, Louisiana took this body image battle on a successful award-winning journey. “We used this as a competition piece at the Louisiana Thespian Festival and were chosen as the best non musical act for the whole festival. We are also taking it to the international thespian festival in Lincoln, Nebraska to compete.” Congratulations, McKinley Middle Magnet School!

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

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

Attention all high school Drama Teachers: Get on the move with Moving by Lindsay Price. As part of Moving/Still, a collection of two one-act plays, Moving is a rapid-fire character-driven comedy with a heart. Under the direction of Krystal Deveau , the drama team at Kamsack Comprehensive Institute in Kamsack, Saskatchewan successfully moved their way through this contemporary comedy with award-winning results. “Directing this play was a blast but challenging at the same time. The kids had so much fun getting into their characters, but that was also a challenge too. Their biggest challenges were: discovering their characters, and saying the lines smoothly. Overall, we worked VERY hard together on this play: often having 6 rehearsals per week up to 3 hours per rehearsal sometimes. It all paid off in the end when we won the Regional Drama Festival! AWARDS: The Cheer Award: Breanna Bland (Darcy), SDA Certificate of Merit: Breanna Bland (Darcy), Technical Award of Merit: Shaelyn Matwijeczko (Lighting), Acting Award: Allison Thomsen (Andrea), Mary Ellen Burgess Award: Alanna Finnie (Bree), SDA’s Best Visual Production Runner-Up, Best Overall Production” Amazing work, Kamsack Comprehensive Institute! *Photo credit: Krystal Deveau

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

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

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

Being sixteen may not always be easy but making the decision to perform Sixteen in 10 Minutes by Bradley Hayward should be. This collection of humorous and bittersweet ten-minute plays about the lives of seven teenagers allows the characters to share their struggles, hopes and fears ten minutes at a time. As the audience drops in on these intimate moments, they will come to understand that being sixteen isn’t always easy. Leah Webster and the student performers at Gallatin County High School in Warsaw, KY brought their audience through the experience of being sixteen and all of the ups and downs that go along with it. “My school, Gallatin County High School, performed “Sixteen in 10 Minutes or Less” as our Fall Production. We used different students for each scene to ensure that all of my newer actors had time on the stage. The audience loved the scenes and even commented on how some were funny and some were sobering. We had a blast using our 3 projector screens as backdrops to keep our set minimal.” Great job, Gallatin County High School!

When selecting a show for your school to produce, you want to choose a show that is fun, appeals to your students, challenges them, and helps them grow as performers and technicians. But choosing a show has its issues. Perhaps your students have their hearts set on a musical, but you’ve selected a play. Or maybe they wanted a big name-brand show, while you’ve selected something they’ve never heard of. While they’re excited about the prospect of doing a show and are going to participate, they’re less than thrilled (or perhaps slightly confused) about what you’ve selected. What’s a director to do? At this point, it’s your responsibility to get your students to “buy into” the show–to agree with and accept the show. Think of it in terms of selling your show to your students. Let them know the show’s “selling features.” Demonstrate what’s in it for them. Let’s look at five suggestions to help get students enthused about your show from the get-go. 1. Show enthusiasmFirst and foremost–YOU need to lead by example and be excited about the production. If you aren’t thrilled to be working on the show, why are your students going to be? Focus on all the great things to look forward to–the juicy character work, the amazing songs and dances, the chance to learn new skills (like using theatrical effects or stage combat), the gorgeous sets and costumes, and anything unique or different about your show. For example, perhaps your school is going to be the first to produce your show in the district, or even the province or state. Maybe you’re going to enter a theatre festival with this production. Perhaps it’s going to be a show you take “on the road” to various other schools. Whatever makes this show unique, really emphasize that with your cast and crew. Make your enthusiasm infectious! “Kids don’t care how much you know until they know how much you care” is an appropriate quote for this topic. Help your students care about the show by demonstrating care yourself. 2. Explain the plot (and why it’s important/relatable/challenging/etc.)Maybe your students have never heard of the show you’ve decided to produce. This happened to me when I was directing Peter and the Starcatcher. I had seen the show on Broadway and had read the book series. Because of that (plus the fact it had won Tony Awards), I assumed everyone knew the story. Newsflash: just because you are intimately acquainted with the material does not mean that your students are. Take some time and explain the plot thoroughly to your students. Don’t assume they will get everything from just reading the script. If there is supplementary material (production guides, videos, book or film versions, and so on), make those available to your students. Help them to understand what they’re working on. What you perceive as indifference or a lack of enthusiasm may just be them not understanding or knowing what’s going on. 3. Explain your conceptIf you have a fun or different twist on your production (and really, you should!), explain it to your students right away. Let them know your ideas for the design of the show, how you’re going to approach the characters, and what is going to make this production really special. This, in turn, will make your students feel special for being a part of it. Both explaining your concept and showing enthusiasm are simple enough to do at your first rehearsal. But I actually did this for my most recent production ahead of time–digitally. I let the cast know that on a certain date and time I’d be presenting a Facebook Live Video in our private, “cast and crew only” Facebook group. I used that time to explain my concept for the show and how excited I was to be working with them. It was utterly terrifying, but a lot of fun, and a great way to connect with my cast through social media. Lots of different social media platforms have live video capabilities–check them out! 4. Get started right away with a big group number or blocking sceneThere’s no time like the present to dive right in! Get the full cast started at the first rehearsal. Consider getting them up on their feet with a big production number or a group scene that everyone’s involved in. Promoting teamwork and ensemble values helps to create a sense of community and helps ensure that everyone feels included. It gives students the chance to get to know each other right away. Plus, it’s fun! Inclusivity + community + teamwork = buy-in. 5. Issue a ticket-sale challengeA good competition can really help students to buy into a show. Encourage your students to talk up the show early and share updates on social media. Give a prize to the student who gets the greatest number of tickets sold, or offer a pizza party to the cast and crew if they can sell out their opening night performance. Bribery? Maybe. Or perhaps it’s a clever way to get your students to take pride and ownership in their show by advertising and getting audience members right away.