Roles

This month we’re focusing on helping different types of students in your drama class succeed. In the fourth and final part of this series, we’re focusing on the class clowns. Going back to the High School Musical comparison, the class clowns are your outspoken and outgoing Chad Danforth types. They are loud and funny students who love to draw attention to themselves with their goofiness. They often take drama class because they think it’s an easy grade. They may secretly enjoy drama class but don’t want to admit it. Class clowns have wonderful energy and a great sense of humour, and they’re often talented performers because they’re fearless. They’re eager to show off and make their friends laugh. They excel at theatrical techniques such as improv, sketch comedy, and clowning (of course). They usually enjoy playing theatre games but will often try to stretch or bend the rules to suit their own sense of humour. Class clowns, however, are notorious for being disruptive in the classroom. They may irritate the drama enthusiasts because they don’t always take their work seriously; frustrate the writer/composers because they often improvise instead of sticking to the script; overwhelm the introverts with their boisterousness; and annoy teachers by distracting the rest of the class. The challenge for the drama teacher is to encourage the class clowns to maintain their enthusiasm and zest, while keeping them focused and on task. Here are some tips to help your class clowns succeed:• Be clear about behavioural expectations_ _right away. Although drama class isn’t about sitting silently and reading textbooks, students still must observe the rules. There is a time and place for silliness in drama class, but it isn’t all class, every class. • Class clowns may or may not realize how their disruptive actions affect others. Work on exercises that encourage teamwork, active listening, and nonverbal communication to help your students gain a more ensemble-based focus. • Class clowns love being funny, but sometimes their jokes are only funny to themselves. Spend a unit focusing on various types of comedy throughout history, such as slapstick, commedia dell’Arte, or Shakespeare’s comedies, and let your class clowns discover where the funny comes from. • Partner up your class clowns with your writer/composers and have them study comedy writing. Have them research comedy writers from their favourite television shows or movies and learn about their processes, and then write a sketch or scene based on one of those writers’ styles. • Your class clowns may also enjoy doing a research project on their favourite comedians and sharing how those performers’ work influences them. • Invite a fight director to teach your class safe techniques for pratfalls, trips, slaps, and other moves used in physical comedy. • Try the warm-up game below, Keep Adding On, to practice creating safe physical humour, while working on listening and focusing.

This month we’re focusing on helping different types of students in your drama class succeed. In Part 2 of this series, we’re focusing on the writer/composers. Going back to the High School Musical comparison, these are your quietly brilliant Kelsi Nielsens. Like your drama enthusiasts, these students love drama class and are usually involved in school productions, as well as up to date on all the Broadway news. They might be musically inclined and play at least one instrument. They’re often well spoken and quite witty once you get to know them, and they do well in other classes such as creative writing, English, and music. They may or may not be eager performers in class, but they participate and contribute effectively. These lovely students are creative, smart, and talented, but sometimes they can be introverted and quiet. This can lead to them being overshadowed or spoken over by their more extroverted classmates. Their creative ideas and writing skills are definitely assets, but they can be relegated to the workhorse role in group work and they don’t always get the credit they deserve for their contributions. They also may feel like they don’t fit in with their peers in drama class; as writers and composers, they don’t easily fall into the performer or crew categories. Your writer/composers may need reassurance that their contributions are valuable and, indeed, necessary for your drama class. They are the ones who will come up with material that is relevant, fresh, and interesting to your drama students. Who knows, your students might be the creators of the next big hit someday! Encourage your writer/composers to write/compose daily, and to share their work as much as possible to grow and get feedback. Challenge them to take the lead on group playwriting activities. There are many articles and exercises here at Theatrefolk about playwriting that you can use to inspire your students. At the same time, participating in a variety of onstage and technical production roles will benefit your writer/composers and allow them to gain practical theatrical experiences that will inform their future written creations. If possible, look into creating special focus projects and opportunities for your writer/composers, such as: • Workshopping scenes they’ve written by having their classmates read or perform them in class • Editing or acting as dramaturgs for other students’ written work • Writing the script or composing music for a class performance project • Composing a new school song • Challenging them to try different styles of writing, such as sketch comedy or spoken word poetry • Creating original underscores to accompany mime, tableau, mask, or otherwise silent scene work • Composing pre-show, scene change, intermission, or post-show music for your school production • Creating a series of improv scene or playwriting prompts for you to use in your classroom Try this playwriting exercise to get your writer/composers’ brains going quickly and creatively (as well as the brains of the rest of your class!). Students will complete this exercise in groups of 2-4. 3 Items Playwriting Exercise• Select three items visible in the drama classroom. For example: • A hoodie, a pencil sharpener, and a chair • A backpack, a poster, and a piece of chalk • A day planner, a granola bar, and a dustpan • Students have 10-15 minutes to write a one-page scene that has the same number of characters as group members and uses, mentions, or involves the three items in some way. The rest of the scene elements (characters, location, topic, style) are up to the group. The scene must have a beginning, a middle, and an end. • When time is up, each group will read the scene out loud for the rest of the class, with each group member reading one of the roles. • If time permits, have a class discussion about the various creative ways the same three items were used differently in each scene. • Alternate option: Students may compose a short song or rap, set to the tune of an existing song or an original melody, using the three items. As with the scene, students will perform the song or rap out loud for the rest of the class.

This is the second part of a five-part class production series. Check out Part 1: What to Produce?. So you’ve decided to put on a class production and you’ve chosen your play. Now you need people power! Your students will undoubtedly be curious to find out what role they will play in the production. This doesn’t just mean onstage roles. (We’ll talk about that in Part 3!) Putting on a production requires more than just actors – it takes all sorts of contributions from talented crew members. This includes, but is not limited to, roles such as stage management, costumes, props, sets (both design and creation), technical designers and operators, publicity and front of house. There is a lot to do to get a production on its feet. Some class productions become a collaboration between two classes, such as a production class and an acting class, or an upper year and lower year drama class. When the production is a collaboration between two regular drama classes, the younger grade class typically takes on the crew roles while the older students perform the onstage roles, but feel free to switch this up. Most likely, your class production will require each student to take an onstage and offstage role. It will be a lot of work, but nobody said drama class was easy! How will you determine who does what? Here are some things to consider:• Make a list of what crew roles are needed for your production. This will depend on what you plan to produce and the location of the performance. For example, will your production require elaborate costumes or will your students perform in rehearsal blacks that they bring from home? If it is the latter, then you will not need to assign a costume designer, sewers, or shoppers. However, you may still wish to have someone in charge of ensuring that all actors have brought in their required clothing items. • Certain roles, such as stage manager, assistant stage manager, and technical operators, will either need to be performed by someone who will not appear onstage (and if so, they will need a different evaluation rubric, since they’ll only have a crew role and not an onstage role), or by someone not in the class – perhaps a drama student in a different class, a teacher, or another volunteer. • Consider what onstage role each student will play when determining what crew role they will take on, and vice versa. Obviously, some roles are larger than others, and certain crew roles require various levels of hands-on work and time commitment. You don’t want to overload your students or create an uneven distribution of labour. You should also take care to avoid favouring one role (onstage vs. offstage) over the other. Your students will probably think that the acting roles trump the backstage roles, so a student with a lead role should have a small crew role, while someone with a smaller acting role should have a bigger crew role. Have a discussion with your students about the equal importance of onstage and offstage roles. One way to decide who will take on which crew roles is to have your students pitch their top three choices to you. Have them tell you why they want the roles they’ve selected. You might also have them note which role they definitely would NOT want to do, and why. Alternative methods include posting a crew sign-up sheet, drawing names out of a hat, and simply assigning the roles yourself. Whichever method you choose, there will inevitably be some students who are happier than others with the final decisions. But no matter which crew role they are assigned, your students will be challenged, learn a lot, and gain practical theatrical experience.

Here’s a warm-up game you can try at your next rehearsal: Switching Roles. Students will use an improv game to take on a different part in the play you’re currently working on. It’s a simple enough premise: using the framework of an improvisation game, such as Scenes from a Bag or What’s for Breakfast?, students will improv in character, but as a character they don’t normally play. For example, if you’re currently working on Hamlet, the student who plays Claudius will do their improv in character as Ophelia, one of the Players, the Ghost, Osric, or whichever other character is chosen for them. In terms of determining how the role switches will occur, you have a number of options available: • Assign each student a different role • Let students choose what role they wish to try out • Make it random by drawing a role out of a hat • Partner students up and have them switch roles (either student-selected or teacher-selected partners) Trading roles with an assigned partner is probably the easiest method, as it ensures no roles get overlooked. If possible, try to have students with leading or named roles switch with students in ensemble or chorus roles for a more equal-opportunity experience. Switching roles in a warm-up exercise gives students the chance to explore how they might approach a role in a different manner to the student actually cast in that role. Are they able to switch from the mindset and physicality of their current character to those of a different character? How would they differentiate their performance from the student currently playing the role? On the other hand, what needs to be kept the same? In other words, how can students ensure that it’s clear they’re playing the same role, but keep it interesting and fresh? The exercise also gives students the opportunity to get to know other characters in the show on a deeper level. Many students get so wrapped up in their own character that they don’t think about other characters, unless the other character directly interacts with theirs. They don’t think about how other characters move, think, feel, or interact with other characters – or how their fellow castmates got to that point. This exercise helps students develop a better understanding of and a deeper connection with more than just their own character, which then leads to a better understanding and deeper connection with the show as a whole. Having your students try switching roles is also beneficial for you as a director. It may inspire interesting new acting approaches and theatrical moments that could be adapted or included in the show. It may also give you some insight into future casting options for upcoming shows. Who knew that Ben was great at playing a villain, or that Casey could do that incredibly funny laugh? There are a few challenges with this exercise, however. First, role switches need to be respectful. Students need to ensure they aren’t trying to parody or make fun of the current student’s performance in that role. Second, role switches need to be non-competitive. Students should not attempt to compete with the current casting and try and prove that they should have gotten the role over the current student playing the role. Third, role switches need to be kept in the warm-up and then left behind – meaning, the student currently playing the role should not try to alter their own performance to imitate what another student has done. They were cast into that role for a reason, and need to make sure that another student’s approach doesn’t affect them negatively. This is why it’s important to do improvisations for this activity, rather than actual scenes from the show. This minimizes the chances that students’ feelings will get hurt, as well as reduces comparison and gossip opportunities (“Casey performed that character way better than Ben does; I can’t believe they didn’t get the role in the first place”). Additionally, be sure that this exercise does not affect YOUR perspective of the roles. Avoid directly comparing students’ performances. For example, at your next blocking or notes session, don’t tell Ben to laugh just like Casey did while playing this game. As stated above, Ben and Casey were cast into their roles for a reason. Don’t second-guess your original casting choices. Keep it lighthearted and brief. Remember, this is meant to be a warm-up game – make it fun, and then move forward in your rehearsal!

As we all know, the role of the stage manager is a large and challenging one. And, while the stage manager is an amazing person, it’s always useful to have help. Enter the assistant stage manager! The assistant stage manager (or ASM) is a crucial part of the artistic team because they also to help make the show happen behind the scenes. ASMs are responsible for helping in any way they can to make sure everyone’s jobs run smoothly. Some shows have multiple ASMs, depending on the size and scope of the project. Being an assistant stage manager is a great way for students to get involved in theatre, no matter their age or experience. A great ASM is helpful, hard-working, forward-thinking, organized, flexible, and a good listener. But what does an ASM actually do? Let’s take a look at the three most common duties and responsibilities of an assistant stage manager. Assisting in many different capacities during rehearsalsDuring rehearsals, ASMs can take on a ton of different jobs. Some of these tasks may include (but are not limited to): • Helping to set up the rehearsal space and keep it clean and tidy • Assisting the stage manager with administrative tasks (for example, the stage manager may delegate calling latecomers to the ASM so the stage manager can stay in rehearsal and take notes) • Taking notes and updating the prompt book if the stage manager is sick or otherwise unable to attend rehearsal • Acting as stage manager and taking notes in separate rehearsals (for example, the stage manager may stay with the director and take blocking notes while the ASM goes with the choreographer to record dance combinations) • Liaising with the costume and props teams • Standing onstage as a placeholder for an absent actor • Reading cue lines or prompting actors during run-throughs (so the stage manager is free to take notes) • Running lines with actors who are at rehearsal but not being used at that moment • Reviewing blocking and choreography while other scenes are being rehearsed Being flexible and ready to take on any task is an important asset of an assistant stage manager. You never know what may arise on a particular day, and the ASM is a great person to help get those tasks done. Running the backstage during the showDuring the actual performances of the show, the assistant stage manager will be backstage, on a headset that is connected to the stage manager and other operators. The ASM is the backstage eyes and ears of the stage manager. They are the conduit between the booth and the backstage, and can communicate any issues that are going on either way. For example, an ASM can communicate to the booth that an actor is going to be late for their cue (perhaps their zipper got stuck during a costume change) so the stage manager may be able to make a cue adjustment. ASMs are backstage problem-solvers and often deal with emergencies such as helping with a quick change, grabbing forgotten props, or touching up makeup. Once during a past show, one of my ASMs had to hold up a door that had gotten knocked off its hinges for the last five minutes of the act until we could fix it during intermission. That ASM definitely saved the day in that situation! ASMs frequently assist with set changes during the show and in between acts, and with making sure these happen efficiently. My ASM for Heathers: High School Edition was responsible for helping to mop up fake blood from the stage during intermission (which the audience always seemed to enjoy watching). ASMs also occasionally get to assist with special effects such as fog machines, snow machines, confetti cannons, and other exciting technical aspects. When they are backstage, ASMs generally wear a black shirt, black pants, and black shoes so they are more difficult to be seen by the audience, and to indicate that they “aren’t supposed to be seen” if they do have to go onstage. Occasionally, ASMs are outfitted in a show-appropriate costume if they have business to do onstage and the director wants that look for their show. “Other duties as assigned”Assistant stage managers are frequently the students who “git-er-done” and are delegated various projects and tasks by the stage manager and director. The ASM is that extra set of hands that is just so helpful when there are a million things to be done. That is one of the coolest things about being an assistant stage manager – every day at the theatre is different. Here’s just a few of the weird and wonderful things that ASMs have done on shows I’ve worked on or seen: • Operated a crocodile puppet • Sat backstage by themselves because all the actors were onstage for the entire show (so they cleaned the backstage area) • Dressed up in a mascot costume when there weren’t enough actors to cover that role • Actually gone onstage last-minute, in costume, with book in hand, to cover the role of another student who was too sick to perform • Pre-set props onstage • Fixed broken set decorations • Acted as fight captain and ran fight call before the show • Folded and stapled programs • Swept and mopped stages • Disciplined an actor who was being loud backstage • Took rehearsal photos to be used in social media posts • Administered first aid backstage when an actor got hurt • Changed batteries in a microphone pack in less than 15 seconds No two rehearsals or performances are ever the same for an assistant stage manager, and the variety and energy really suits some students who enjoy hands-on, unusual tasks. If this sounds like a fun and interesting job, why not give it a try

“The show must go on” is a common phrase in the theatre world, and a stage manager is one of the crucial people who ensures that the show does go on. The stage manager works side by side with the director and artistic team to ensure that rehearsals and performances run smoothly. Often, this role is assigned to a senior student as this is a great way to learn and develop leadership skills. But what does a stage manager do, anyway? Let’s take a look at some common duties and responsibilities of the stage manager. Assist with administrative and preparatory tasksThe stage manager must be an organized soul, as they are in charge of keeping track of lots of important administrative information. They maintain a company roster (a contact information list for all cast and crew members) as well as keeping track of attendance and calling cast and crew members when they are late for or missing from rehearsals. Stage managers keep track of any pre-scheduled conflicts and assist with creating schedules as they will know what has been rehearsed already, what needs to still be rehearsed, and who will be at each rehearsal. The stage manager is frequently the first one to arrive at rehearsals and among the last to leave. They help to set up the room at the beginning of rehearsals and help to tidy up at the end. CommunicationStage managers are the communications centre for productions. They will often give announcements at the beginning of rehearsals, pass along messages to and from the cast and crew, and email rehearsal schedules. The stage manager is the person who everyone can go to when they need answers to questions or help solving problems. Take notes in rehearsalThe stage manager works closely with the director and artistic staff during rehearsals, recording all blocking, entrances, exits, changes, etc., so the director can focus on actually directing. The stage manager must observe and listen carefully to ensure that no detail is neglected. The stage manager is responsible for creating a master copy of the script – called the prompt book – that contains everything pertaining to the show. The prompt book is kept in such a manner that in the case of an emergency anyone could pick up the book and run the show. The prompt book contains blocking notes, any changes that have been made, and all technical cues, in a tidy and easy-to-read style. Stage managers also use this master script to prompt actors if they forget lines during rehearsal. Call the showDuring the actual performances of the show, the stage manager will be in the booth, on a headset, and “calling” the show. That means telling the various operators (lights, sound, microphones, spotlights, running crew, and assistant stage managers) when to make their various cues happen. It takes an immense amount of care and focus to make sure that every cue is called and executed with correct timing. This is particularly true when stage managers get few chances to practice calling the cues before the actual run of the show (often as few as three times – a cue-to-cue rehearsal, a technical run, and a dress rehearsal). How’s that for pressure? “Other duties as assigned”The stage manager is truly the unsung hero of any production. They are usually the go-to person for any additional tasks that need to be done. At the very least, they are responsible of delegating these tasks to others. A student who wishes to be a stage manager needs to be confident, mature, hard-working, and organized. So the next time you see your stage manager, be sure to let them know how much you appreciate them. They are the glue that holds the show together!

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!

Teachers: Not getting the part you want can be devastating! If you have a student who is unhappy with their casting result, here is a frank and honest list that you can share with your students. It is aimed at helping them deal with their feelings and the situation. Check out the casting reflection link at the bottom of the post. Students, imagine this: Your teacher announces that the upcoming school production is your absolute favourite show in the world. You are psyched! You sign up for an audition slot with your heart set on playing “that” role–your dream role. You’ve picked the perfect monologue and practiced it forwards, backwards, and sideways. You’ve read the entire script, memorized the vocal score, and watched the film version. You go into the audition and absolutely blow the audition panel away with your effort and enthusiasm. Then, the cast list is posted. You scan the list–and there is your name! You’ve been offered the part of…the paperboy. Or the maid. Or Pirate #6. Either way, it’s not the role you had your heart set on. What do you do now? It can be really hard to not get the part you want. Being an actor truly takes having a thick skin. What can you do to deal with this situation? Try not to take the casting choice personally. There are a myriad of reasons why a certain student is cast into a certain role, and you weren’t. Another student may have more experience than you, or perhaps they had a stronger audition. Perhaps they are older and have taken more drama classes, or their vocal range fits the character better. No matter what the reason though, I can guarantee the reason is not because your teacher thinks you’re a bad actor or a bad person! Your teacher clearly saw something in you that they liked, because you got a role. But sometimes we can get a bit of tunnel vision–we may think that we are the best choice for a certain role, but that doesn’t necessarily fit with the director’s vision. Decide if you want to take the role or not. Here is an idea that some students don’t think about–if the show is an extracurricular event and not part of a mandatory classroom assignment, you don’t have to take the role. You aren’t being forced to participate. Sometimes framing it in a different light can help you make a tough decision. Say no to the role. If it’s truly your dream show though, then really it shouldn’t matter what role you’re playing–you get to be in the show! If you’re genuinely unhappy that you did not get the role you wanted and have the choice to not participate, then be professional. Quickly make the decision to not accept the role. Let your teacher know right away, so the role can be re-cast. Ask the director what you could improve on for next time. It’s not always easy to hear, but getting feedback from your teacher can be useful. Perhaps they were looking for someone with a higher vocal range, or wanted to cast a senior actor in the role. Perhaps you weren’t speaking loudly enough in your audition, or the monologue you chose wasn’t actually the best selection for this show. This information can help you improve your performance for your next audition, and give you insight into what you can work on during the rehearsal process for this show. Bonus Tip: Make sure YOU ask for feedback from your teacher, rather than getting your parents to ask you. Your teacher will appreciate that you took on the responsibility of learning and improving your own performance. Consider your mindset. The way I see it, if you decide to stick with the show, you have two mental paths you can take. If you’re bitter and resentful because you didn’t get the role you wanted, then you’re just wasting your and everyone else’s time in the show. It won’t be a positive experience for anyone. You might even earn a bad reputation with the teacher and rest of the cast for making the rehearsal process unpleasant. But…if you accept the role you’ve been cast in and make the best of it, there are so many positives you’ll receive. You still get to be in your dream show. You can take this experience as a learning opportunity and remember why you love to do theatre. You’ll learn new skills and acting techniques that will make you a better performer and help you throughout your theatrical life. You’ll grow your theatre resume. You’ll make new friends and great memories throughout the rehearsal process. What choice would you make? Try, try again. If you truly love theatre and performing, stick with the show. Keep auditioning and participating in future productions. No matter what role you’re cast in, every show is a new chance to learn and have fun. Remember that the director cast you into the show because they genuinely wanted to work with you and they thought that you would be a great part of the team. So, take that with you as a positive, and keep trying. Kerry Hishon is a director, actor, writer, and stage combatant from London, Ontario, Canada. Explore her blog at www.kerryhishon.com.