Productions

Starting a new production is exciting — and sometimes a little overwhelming. One of the first big decisions you’ll make is whether to tackle a one-act play or a full-length play. Both have their benefits, both have their challenges, and the “right” choice depends on your students, your time, and your goals. Let’s break it down! Consider Your TimeframeHow much time do you have to rehearse? What does your school calendar look like? Will there be testing in the middle of your full-length show? What does the calendar for your performance space look like? Sometimes time will make your decisions for you. • One-acts are short and can run anywhere from 20 to 55 minutes. They’re perfect if you’re tight on rehearsal time, want to perform at a festival, or just need a lower-stress option. • Full-lengths typically run 75–120 minutes, which means more rehearsal time, more memorization, and more moving parts. But they also give you and your students the satisfaction of tackling a bigger project. Think About Your Cast Size• Got a small but mighty group? One-acts are sometimes written with smaller casts in mind, and often offer flexible roles. A small cast full-length puts a lot of pressure on your student actors. • If you have a large ensemble who all want to shine, a full-length might give you the space to spread out roles, add cameos, or double-cast. Skill Level Matters• Middle school or brand-new drama students? A one-act is often less intimidating and gives them a strong sense of accomplishment without overwhelming them. • High school veterans or advanced students? A full-length show can push them further, helping them develop stamina, deeper character work, and better teamwork skills. Production GoalsAsk yourself: What’s the purpose of this production? • If your goal is to compete (UIL, festivals, contests), you are looking at one-acts. • If your goal is to wow the school and community with a big showpiece, a full-length may be the way to go. • If your goal is to build confidence and community in your program, one-acts are a great stepping stone. Logistics and Resources• Budget: One-acts will have smaller royalty fees and fewer technical requirements. • Rehearsal space: Do you have enough time and space to run a full-length production, or would a one-act be easier to slot into your schedule? • Audience: A school day matinee? Parents squeezed for time? One-acts fit neatly into shorter attention spans. Why Not Both?Some schools solve the dilemma by staging an Evening of One-Acts: multiple shorter plays performed back to back. This allows more students to get involved, more styles to be explored, and gives the audience a fun, fast-paced variety night. Final TakeawayThere’s no wrong choice. Whether you choose a one-act or a full-length, what matters most is how the play fits your students, your program, and your community. When your students feel challenged, supported, and excited, you’ll have chosen the right show. Check out Theatrefolk’s full catalogue of fantastic one-act and full-length plays — perfect for student performers in any drama program!

When choosing a show for a class or school production, the first thought teachers usually have is about the practicalities. There are many important things to consider. Is it an appropriate length? Are there enough roles to go around? Will the royalties be within our budget? Will the administration approve it? Is this a show our students will like? While these things are crucial to consider, it’s important for teachers to choose shows that they’re passionate about. Why? Read on! Choose a show that gets you fired up when you talk about it. You need to choose a show you genuinely like and are excited about. You’re going to be hearing the lines or songs over and over for the next couple of months. You need a show with compelling characters, a message you believe in, cool technical challenges, or something else that gets you pumped to start the process. Yes, your students need to like the show, but there is an abundance of shows out there. If you think you’re going to get bored or annoyed during the process, or are feeling “just ok” about the show, keep looking. Don’t settle for “just ok.” Your excitement will build excitement for others. If you get pumped up explaining the plot to your principal and other teachers, or you’re expounding the virtues of the show to your friends or family outside of school, or you’re sharing with your students all the reasons why this particular show is amazing, that’s a good thing. Your enthusiasm will build excitement and buy-in with others. It’s a trickle-down effect: your enthusiasm gets students excited to participate, which makes their parents happy, which makes the administration happy, which (hopefully) allows you to put on more shows in the future. The story grabs you, and you need to tell it. Why are you passionate about this show? It should have an engaging storyline that you feel is important to share with your audience. The story might be meaningful or educational. It might bring awareness to current social issues or important historical events. Or it might be a show that is just plain FUN. All of these are reasons to direct the show, because you know it’ll engage your students, your audience, and yourself. This is an artistic pursuit for you. Directing a show is not a simple undertaking. This may sound selfish, but you’ll be dedicating a huge portion of your time, energy, and creativity to this project. It’s important that you will be artistically fulfilled, creatively challenged (but not overwhelmed), and satisfied with the final product. Yes, the process is important and there will likely be challenges. We don’t want to take ourselves too seriously or be inflexible, but your time and effort are valuable and you deserve to enjoy the process and product as much as your students. Theatrefolk has a fabulous library of plays for middle school, high school, and classroom study. We can help you find the perfect play that you’ll be totally passionate about, and that your students will love too. Further Reading: Top Tips for Directing Your First Show

We all know a picture is worth a thousand words – so make sure it’s saying the right things about your productions. Your actors’ performances aren’t afterthoughts. Capturing their moments in the spotlight shouldn’t be either. We asked drama teachers: What are your best tips on taking great production photos? Let’s hear from teachers on the front lines. Leave it to the professionalsKatie O. says “Get a professional! I’ve been fortunate the past several years to have students with dads who are pros (or at least very accomplished amateurs). I haven’t taken a production photo in years but we still have some beautiful shots!” Randi G. says “My tip is to get a parent who is a photographer to come in and take the pictures! That is what we did this year (he is a pro) and we got amazing shots, including some super backstage photos. If there isn’t a parent, find someone who is trying to build their portfolio who can come take some shots of one of the final rehearsals.” Jane M. says “My tip is to hire a pro who can capture the whole picture…close ups, full shots, sets, backstage, etc.” Look around youClaire B. says “If your school has a photography course, as a teacher for a star student.” Cassandra G. says “Get alumni photographers.” Heather G. says “We have digital photography programs on campus with phenomenal instructors that take our shots.” Debb A. says “I’ve always had a former student or a colleague that is a great photographer take mine. The photographer comes to final dress to snap pics, and after the rehearsal we’ll hit various scenes to be sure there are good stills with great lighting.” Know the EquipmentJason P. says “Find someone with a good camera who knows how to use it. And make sure they shoot an entire rehearsal after they have seen an entire rehearsal.” Kelly D. shared the challenge of “finding cameras (and especially camcorders) that handle the unique lighting situations of live theatre.” Kerry H. says “Taking action shots in a variety of different lighting is definitely different than shooting portraits or weddings. Make sure you hire someone with experience in this area.” Final TipsAnne D. says “Take them during dress rehearsals when you get amongst the action. Also, focus on individual members of the chorus – future stars are found in those photos.” Rory M. says “Keep moving. And unlike making a video recording spend most of your time dead close to the actors.” (Obviously this is only possible at a dress rehearsal.) Kerry H. says “Taking action shots in a variety of different lighting is definitely different than shooting portraits or weddings. Make sure you hire someone with experience in this area.” And don’t forget….Ron D. says “Ask yourself what you intend to do with the results. Be clear on your intent before you do anything! And tell the parents, so they are not blindsided. Second, be sure that you have permission to take pictures or video of every person. Third, if you use a professional, be clear about who owns the photos. Get it in writing. Lastly, if you intend to video, be double sure that you have the rights from the rights holder to do so. If you don’t, you could open your company, your school and yourself to litigation. Doing your due diligence is part of your job!” Identify the most active moments, the tricky lighting moments, the most colourful moments and so on. That way when you have a conversation with a photographer you’re ahead of the game. Join the conversation on our Facebook Page and add your own advice to our list!

Romeo and Juliet may never be the same, thanks to the comedic classical adaptation, Drop Dead, Juliet!, by Allison Williams. Director Catie Reardon and the drama students at Rio Grande High School in Albuquerque, New Mexico channeled their inner-Shakespeare with this one-act comedy. Not simply a spoof of the Shakespearean classic, this modern version takes on a life of its own. Juliet demands a new story – and in Drop Dead, Juliet!, she definitely gets it! “Drop Dead Juliet is almost ready for an audience, and my actors are having so much fun! Love, death, sword fights, what else does a good Shakespeare play need?!” Way to go, Rio Grande High School!

Prepare yourself for some sensational Shakespearean silliness! Mmmbeth, by Allison Williams is a hilarious adaptation of the Scottish play where everything goes wrong in the best possible ways. Sara-Margaret Cates and the student performers at Tuscaloosa Academy in Tuscaloosa, Alabama performed this classical adaptation and had a great time doing so. “My upper school class performed Mmmbeth last spring, and had a great time! They had previously studied the original Scottish play, and found this interpretation to be a lot of fun. It was a great opportunity for many beginning actors to get out of their shells and be silly with Shakespeare. It was a great experience! – Sara-Margaret Cates” Fantastic job, Tuscaloosa Academy!

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

Many productions are based on a pyramid structure : Stars at the top, supporting cast in the middle, chorus at the bottom. Even though there are more actors involved at the bottom of the pyramid, it’s those at the top who usually get to shine. This structure has been in place for years and is inherent in every genre of play from Shakespeare to Broadway musicals. Stars shine, the chorus gets stuck at the bottom. And because high schools often produce Shakespeare to Broadway musicals, the pyramid structure finds it’s way into student productions. There’s nothing worse than being at the bottom of the pyramid and feeling like you’re not a worthy part of a show. If you’re intent on the performance aspect of shows, you probably accept the pyramid structure because that’s the way theatre works. You can’t produce The Wizard of Oz without Dorothy. But if you’re intent on the drama in education aspect of theatre in your program, and if you ever want students to work together on something of their own, the pyramid structure has to be dismantled. Everyone in a show has to participate in and actively buy into the notion of ensemble. To be a part of ensemble is not to be part of a chorus – the acting ensemble is the entire cast. To be part of an ensemble is to create a feeling where everyone belongs. The ensemble is a space where everyone is on the same page. It’s an atmosphere where everyone on stage works toward the same goal. How do you create ensemble?There are three qualities you want to instill in your cast when creating an ensemble. • To Look and Listen: The ensemble actor always has their eyes and ears open while on stage. They are engaged at all times. • To Support: Since they are looking and listening, the ensemble actor is ready when the unexpected happens to their fellow actor. They don’t just stare into space waiting for their next cue. • To be a Community: Ensemble actors work together, they build a community out of their production. There is no star system. To create an ensemble, you want your students engaged, supporting each other, and thinking that everyone is equal in the process. These qualities are within every student but they don’t happen naturally. You have to lead by example and incorporate ensemble building exercises into your class or rehearsal process as soon as possible. Manhole CoverUse this exercise at the beginning of every rehearsal. How well do they work together by the time your show is ready to open? • Students stand in a circle. Their first job is to make a perfect circle. • At their feet is a manhole cover, which is the area and dimension of the entire circle. A very big manhole cover. • The task is to pick up the manhole cover as a group and lift it to shoulder height and then bring it back down to the floor. • All the principles of mime apply – the weight, shape and size of the cover must be taken into consideration. Everyone must work together to keep the shape consistent. • Next do the exercise with something that has the same shape but an entirely different weight and consistency. Cotton candy circle? Jello circle? • As students continue to perfect the exercise, have them do it without any verbal cues. Can they work together to lift the manhole cover without talking?