Round Up

These games and exercises are my go-to activities for teaching beginning drama students. They’re fun, engaging, effective, and give students a well-rounded overview of topics such as drama classroom and theatrical etiquette, various nonverbal and scripted performance techniques, introduction to scene and character analysis, and more. First Week Essentials• You and your students can learn each others’ names using the Silent Line-Up game, the ABC Name Game, and the Action Name Game from 3 Tips to Learn Students’ Names Quickly, and get to know a bit more about them by playing Move Yer Butt and Mixer from Getting to Know You Games. • Practice and reinforce classroom rules and theatre etiquette guidelines with the Act It Out game. • Creating a set of Community Agreements is an essential first week activity for you and your students. • And here’s even more First Week Activities for you to use. Ensemble-building and trust-building are key topics to cover through warm-ups, games, and classroom exercises. Nonverbal Theatrical Techniques: Mime, Tableau, Dance & Creative Movement• Elephant Walk is one of my favourite nonverbal warm-up games. • Start by teaching students about neutral position (from 3 Tips to Help Student Actors Stop Fidgeting), which helps them learn focus and body awareness. • Our Middle School Miming series has great tips for teaching students about miming technique. Try Preparatory Skills; Big, Small, Heavy, Light; and Interacting with a Wall to start. And of course, the Mirror Exercise is a classic mime exercise that everyone should use. • We’ve got lots of tableau exercises here at the Theatrefolk blog, but my go-to is Tableau Scenes from a Book. • Dancing in the Drama Classroom is another way to explore nonverbal storytelling and creative movement. Group Scene and Monologue Preparation & Practice• Always be sure to warm up the voice for speaking and singing, including breath control and enunciation exercises. • Scene analysis exercises help students gain a deeper understanding of the character they’re playing and the scene as part of the whole play. Don’t start rehearsing without doing some preparatory work first! • Teaching Students How to Rehearse in the Drama Classroom helps them use their in-class rehearsal time effectively. • Students also need to know the basics of stage directions. Try playing Trapdoor to learn the difference between upstage, downstage, stage left and stage right. • Once students have a good foundation, they can start working on partner and group scenes (which are generally less nerve-wracking than jumping right into monologues). If you need some great scripts for students to study in class, check out Theatrefolk’s Top 10 Plays for Scene Work. Work on analyzing, rehearsing and then presenting their scenes for the rest of the class. • Then, move on to monologues, both for performance and as part of an audition. I always have my students do mock auditions, so they get to practice going through the audition process before actually auditioning for a show. Specialty Topics• Improvisation is a vital skill for beginning drama students to help them think on their feet and work as a team. Here are the Top 10 Tips for Teaching Improv. Some of my favourite improv games include Scenario Generator, Props and Word at a Time Story, Commercials, and “Yes And…” and “No, But…”. • Puppetry is a great topic for students of all ages and levels of ability. Puppet Dance Parties are a fun starting point for introducing puppetry to your class. • Stage combat should only be taught by a qualified and experienced fight director, but you can introduce stage combat safety, responsibility, and fight analysis without even throwing a punch or picking up a sword. • You can teach introductory technical theatre topics to your beginning students, even if you aren’t the most technically inclined teacher. Costumes, props, makeup, sets, lighting, sound, special effects — there’s a technical area for just about everyone. We’ve got a collection of 15 Tech Exercises for the Non-Technical Teacher that don’t require a lot of equipment or extensive technical theatre knowledge. • You can bring together and show off all the skills your students have learned and developed over your time together with a class showcase. It could be a private performance for just your class or a public presentation with an invited audience — whatever works for you and your students. You can end each class with a quick verbal check-in with your students, or give them a few minutes to respond in writing to an exit slip prompt. Check out the giveaway below for a collection of exit slip prompts that you can adapt to many different lessons. Related Reading: Curriculum Planning: Introductory Skill Building

Being a drama teacher is incredibly rewarding, but it’s also deeply misunderstood. From long rehearsal hours to teaching real academic content, theatre educators often find themselves having to justify the value of what they do. Sound familiar? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: What's the one thing you wish other teachers understood about teaching theatre? Theatre Is Real EducationIt’s a real class with real standards and objectives and benchmarks, just like math or English. We are doing real learning EVERY DAY, EVERY CLASS. (Chelsea P.) I wish they understood I really teach content: theatre history, theatre conventions, plays, etc. We don’t just rehearse or practice in class. We have class. All the rehearsing and performing happens after school… after a day of teaching. (Kim M.) It may look like I'm just "playing" with the kids but I promise, there's a lesson behind it for the kids to learn from. (Melanie PG.) That we support core classes in more ways than they can count: literary analysis, measuring, study of historical time frames and cultures, adding fractions, creative writing, algebra, geometry… the list goes on and on. (Colleen M.) Theatre Teaches Life SkillsThe students aren’t just “learning lines to do a play,” they’re learning life skills to equip them for adulthood: time management (dropping scripts by a certain date), self-discipline (memorizing lines outside of rehearsals), teamwork (helping others to succeed), cooperation (learning to work with people you may not necessarily like), brainstorming (discovering your creative self and seeing the creativity in others), vocabulary, “reading a room” (playing to your audience, using your intuition), communication (doing a Q&A/talk back), public speaking. So, these theatre students are doing much more than “a play.” (Elizabeth M.) I'm actually teaching them skills that make them employable. I'm teaching them how to work with a disparate group of people for a common goal. I'm teaching them how to communicate in real life, not on a computer. I'm teaching them how to speak and think on their feet. (Terri D.) We do more differentiation in one class period than some teachers do in a year or a semester. (Devan W.) The group might sound too loud, it may look like chaos, but it’s actually an ancient ritual taking place that has helped humans share ideas, bond, develop compassion, and realize the joys of publicly expressing “self” with each other for thousands of years. (Brenda C.) Theatre Is Hard WorkHow. Much. Work. Is. Involved. It’s a good thing that it’s fun! (Beth SG) The time commitment and the workload. (Ritchie J.) So many evening hours. (Elizabeth M.) It takes time to write, format, rewrite, and market. (Pam MS.) While it's the best "job" I've ever done, it's the most work and so time consuming. And yes, it can be tiring and hard work, long, long hours. (Kathleen O.) How much work goes on behind the scenes. Not just the set building and costuming but keeping the trains running on time and avoiding the various pitfalls of working with students in an environment that rivals athletics! (Gina B.) I taught high school drama classes, directed three major productions a year, took students to drama competitions on weekends, designed and taught students how to build scenery in my stagecraft classes, and did all the scheduling for our auditorium. And even though I was exhausted a lot of the time I loved every minute of my 33 years in education. (Mary B.) I have one person for each role, and if they're gone for whatever reason (understudy on hand or not) it throws things way off. (Sabrina B.) It doesn’t stop, the season. Once one show ends, I’m already knee deep into the other show or season. It’s year round! (Heather S.) That it's not all improv games and an "easy A." I teach content. (Tamara M.) Theatre Requires SacrificeI really WANT to be at your dinners, parties, and other events BUT rehearsals, set construction, and promoting the show have to happen while people are available. Unfortunately, that’s not always compatible with socializing with people outside of the production. (Julie R.) Theatre Builds Deep Connections Teaching theatre is more than a job. It’s an adventure. These are not just my students. They are my kids. We are a family. (Bil G.) That it may seem silly to them, but will forever hold our hearts. The connections made through intense rehearsal and show periods are lasting ones and go deeper than just "work friends." (Danielle SP.) Theatre Is for EveryoneTo be a part of the theatre you don't need to be good at anything before you get here. You don't need to be athletic or read music or have innate talent. Just show up. There are plenty of possibilities for you to find your niche. (Sara V.) Theatre is in everyone. (Suryadip M.) There are usually more people behind the scenes than on stage. (Shannon M.) Theatre Deserves Equal RespectIt's not a hobby. (Matt A.) That my students matter as much as athletes. All our students matter. (Caity T.) Additional Reading: 10 Reminders That What You’re Doing as a Drama Teacher Matters

As theatre educators, we pour our hearts into what we do. But sometimes, it’s our students who surprise us with the most meaningful lessons. Whether it’s a simple “thank you,” an unexpected insight, or a moment that reminds you why you love teaching, student feedback can be powerful. Do you celebrate these incredible moments? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: What's the most memorable feedback a student has given you? Moments of Pure Joy & Excitement“My heart’s on fire 🔥” — A grade 6 boy when I was doing a theatre arts residency at his school! This was over 20 years ago and why I went into education. (Suzanne M.) “You were right, miss! That was FUN! ” (Becca BH) “That was the best thing I’ve ever done! Can we do it again and again and again?” (Janet NG) Gratitude & Personal Growth“Thank you for helping me know what I really love doing.” Wow. (Betsy B.) “Thank you for believing in me more than I did.” (Vicky B.) When they finish a show, they give you a huge hug and just say, "thank you." That's all I'll ever need. 🥰💕 (Cherish T.) Overcoming Fear & Finding ConfidenceA year 7 pupil wrote: "Today I learnt not to be afraid." I'll never forget that. (Allison G.) One child recently said to me, “As long as you’re giving theatre classes I will be here.” Sometimes I want to adopt them all. 😃 (Brenda C.) The Power of Theatre to Change LivesAfter the final curtain a student came to me and said, “Mr. G, I found my life tonight. I never want to lose this feeling.” (Bil G.) “Theatre saved my life.” (Mary Beth B.) That they finally found a place where they feel like they belong. 🫶 (Heartstrings TC) Memories That Last a LifetimeI had one kiddo who was infamously scatterbrained with a working memory similar to Dory. In the cast card, he wrote, “I may not remember much, but I’ll remember this.” 😭💜 (Kathy T.) That their theatre class is their favorite class and they're going to miss it. (Walters SDMT) Students Helping Their Teachers GrowI had a technician/designer who in their second year said, “My peers and I continue to procrastinate when given our timeline to pull a show together. I think something we need is more clear and direct deadlines. I put together this template to take one thing off of your plate. Do you think this would be okay to try?!” Been using that template (and tweaking) ever since. (PT) Funny & Unforgettable Feedback"Maybe you should spend more time studying French history and less time picking out your outfits." Ok, maybe not the best, and not theatre related, and it sounds horribly rude but I promise that in context, it was hilarious! (Anne Z.) Singing coach here. “Wow, you’ve really been practicing piano haven’t you, Miss? ’Cause you used to really suck but now you don’t.” (Vicky B.) Additional Reading: Getting and Giving Feedback Back to School Affirmations for Teachers A Classroom Skills Reflection for Drama Teachers What’s the Best Thing About Being a Drama Teacher How do you Define Success as a Drama Teacher?

A prop, or theatrical property, is any object used or carried onstage by an actor that isn’t a part of the set or worn. Props can be made, built, bought, or borrowed, and the golden rule of props is that we do not touch them if they aren’t ours! (Honestly, just don’t muck around with props even if they are yours — it saves so much hassle.) Read on for a selection of tips, tricks, and exercises for acquiring, caring for, and working with props. Planning For and Acquiring Props• Start by creating a master props list. Sometimes you’ll be lucky and the script you’re using will have a props list already assembled, but you’ll still want to check it over and ensure that nothing is missing, and that any props you’ve added or removed are noted on the list. • Working with props can be challenging. Here’s a list of five common props challenges and how to overcome them, which includes dealing with a HUGE list of props, difficulty working with props onstage, and what to do with consumable props, broken props, and props that have mysteriously gone missing. As well, if you’re borrowing or renting props, here is a useful guide for communicating with rental sources. • If you’ve got a massive props list, you’ll need to amass a great props team and have them work together to divide and conquer the list. • If you’re working with a shoestring budget, check out this guide with 9 tips for acquiring your props on the cheap. Organizing Props and Dealing With Mess• Once all of your props have been acquired, you’ll need to create and maintain an organized props area, which will save so many headaches during the run of the show. • There’s no excuse for having a messy backstage area. Use this guide to help your students keep their props, costumes, and personal items tidy and organized. • Using real food and drink props onstage is a lot of fun, but comes with a few risks (including mess). Here are some pros and cons for using real, fake, or invisible food onstage. Props Exercises• A classic drama classroom improv game is called, appropriately, “Props.” Students sit in a circle. The teacher places an item (a cane, a stool, a hula hoop, a butterfly net — whatever you happen to have available) in the centre of the circle. Individually or in pairs, students go into the circle and use the prop in a unique way to portray any item other than what the item actually is. For example, the cane prop could be (gently) swung as a putter golf club, turned upside down and used as a boat’s oar or a fishing pole, held out like a limbo stick, or held out horizontally and “revved” like the handlebars of a motorcycle. The only limit is that once a prop has been used in a particular way, it can’t be used in the same way by another student. This is a great way for students to work on making clear acting choices and thinking creatively to use the prop in various ways. • Once your students feel confident playing the Props game, challenge them to try Speed Props. • Props can be used to create and animate characters, and can be a great way for students to explore using their voices and bodies in different ways. Try using props, puppets, and masks in your next classroom exercise. • Have your students try portraying their character using one single prop or costume piece. • A theatrical transition is the time between scenes during which actors and stagehands move props and set pieces on and offstage to prepare for the next scene. Transitions need to be quick and seamless, otherwise they bog down the pacing of the show. Prop Shift is an excellent group exercise for students to practice doing transitions safely and effectively. • In our Found Objects exercise, students are challenged to prepare and present a scene in one class period, using props found in the drama classroom.

The magic of theatre isn’t just in the performances; it’s woven into the traditions that bring us together! From heartwarming pre-show rituals to quirky backstage customs, these traditions create a sense of belonging and excitement for both students and educators. We asked: What traditions do you have with your theatre program? Feed your soulWe always have a potluck supper together on opening night. It’s Mississippi: food is a bonding experience! (Chelsea P.) Create meaningful momentsBefore each performance I hold “My Little Corner Of The World.” That is where the entire cast and crew meet with me and we share positive thoughts and feelings about the show and each other. There are lots of hugs and good feelings. (Bil G.) One student per show receives our journal and they get to write about their experiences in that show. Only a student that receives the journal gets to look inside. I also choose one student and make them into a monkey in the style of the character they portrayed in that show, which started because I bought a monkey border for my classroom. The monkeys are displayed in my class with a picture of that student from the play and a program. (Jen M.) I always gave my kids Angel Cards on opening night and suggested they use their inspirational word to discover something new in the play or character that night. They’d lead each other in warm-ups pre-show and I’d then have them circle up to give them each a card. If they wanted to, they could share their word and what it meant to them as a connection to the show. (Beverly B.) Embrace fun ritualsYou had to dance to enter the paint storage room. Backstory: the door to storage led to even more doors. And one does not simply walk into Mordor… (Ryne M.) This is such a great question and brings back so many memories! For the past 25 years, I’ve had a tradition for opening night: I pick a lead character and a prop, then sneak in a funny photo — whether it’s a baby picture or a celebrity crush. It’s always an inside joke, and I team up with their friends to pull it off. The kids eagerly await "prank opening night," and my students never break character! For example, during The Odd Couple, we put a senior’s baby photo in Felix’s baby book. Last year, in Alice in Wonderland, when the rabbit opened the court scroll, we swapped in his first recital photo. The students never know who I’ll choose, but they always get a little teary-eyed after the show! (Eric M.) Graduates get to sign the wall in our storage closet. Before every show, we hold hands and chant “Go Bananas,” beginning with a whisper and building energy each time we chant until we’re bouncing off the walls. In between performances, we eat pizza and then try to perform other actors’ scenes from memory. We are committed to being kind, brave, and curious, and we reference those traits often. (Annie E.) Develop energy-building warm-up routinesI am the theater assistant at my high school and also an alumnus. I am trying to re-establish traditions because there was no smooth transition between directors. Combine that with COVID and traditions fell by the wayside. I brought back "frequency" as a pre-show warm-up. Everyone gathers hands and we "pass" a squeeze around. It takes a few times to get it right. I have also started a new tradition of a senior key chain that has a charm for each show they've done along with some charms to represent the school. (Cory R.) Pass the pulse before EVERY SHOW and pass the clap at the end of EVERY REHEARSAL and quiet coyote kisses before every green room to stage exit. (Southfork PA) Honour the teamOpening night we recognize new performers with a Premier button. We have Bronze, Silver, Gold, and Platinum company members that are differentiated by the number of shows they’ve done. We inducted the cast and crew at half hour. Post Strike, the crew signs the walls of the catwalk. (Chris C.) Incorporate secret traditionsWe use special props from past plays in current plays even if they are hidden. It’s a small thing that brings me joy and hopefully to them too! (Susan B.) Sorry I couldn’t tell you about our high school traditions; I’ve been told never to tell anyone! It’s a senior secret! But yes, dressing room traditions and chants only our drama department knew! Also a warm up that was different for each show. (Jack R.) I bought this weird 3-D picture of the Santa Maria (Columbus’ boat) at a thrift store (it’s about 8 by 10) and we’ve had it somewhere on the set in every show since we opened the new auditorium in 2000! It’s become a Waldo kind of thing that only the kids know about. Alumni will come to shows and look for it on the set. (JM E.)

Classroom management looks a little different in the drama room than in other classes. However, laying a solid foundation for discipline is imperative for you and your students so you can all work together towards success. No matter where you are on your teaching journey, there are always tips, tricks, and techniques to refine your classroom management style, as every class is going to be different. Here are 10 of our best articles on classroom management, including different approaches to teaching rules, establishing routines and rituals, practicing accountability, and more. Top 10 Classroom Management Tips for Drama Teachers It’s right there in the title. Matt Webster shares his no-fuss tips for establishing a solid foundation for discipline in your drama classroom, focusing on preparation, clear communication, and consistency. Plus, you’ll find a PDF download of emergency activities to help you be prepared in the classroom. Day One of the Drama Classroom For many teachers, the first day of class is the most important day of the year. It sets the tone for what’s to come and how things will run. This episode of The Drama Teacher Podcast features five drama teachers sharing what they do with their students to get started on the right foot and make the most out of that first day. Ordered Chaos: Balancing Structure and Creative Activity in the Drama Classroom The drama classroom is unique, and expectations are not the same as in other classes. Maintaining the balance between creative activity and structure can be challenging, but it’s doable. This article discusses techniques for classroom management through the elements of routine, behaviour, co-operation via group work, and peer leadership. Top 5 Discipline Mistakes New Drama Teachers Make (And How to Fix Them) Giving empty threats, repeatedly shushing students, and ignoring behaviour issues doesn’t work. If you feel stuck because your discipline attempts don’t work with your students, don’t fear — we’ve got solutions. This post also includes helpful video tips. Establishing Boundaries with Your Students You are one person with a finite amount of resources and mental capacity to do your job effectively. Boundaries are necessary to protect ourselves and our well-being. Setting boundaries with your students demonstrates how you wish to be treated, how your classroom is run, and the expectations that students must live up to. Developing Classroom Routines and Systems Classroom routines and systems make students feel organized and secure, and help them shift into the drama class mindset. Establishing clear routines can reduce behavioural issues, as your students know what to expect when they enter the room, even if they don’t know what the lesson will be about. Accountability: In Rehearsal, the Classroom, and as a Citizen Classroom management starts in the classroom, but it also teaches students how to function in the “real world” when dealing with part-time jobs, extracurricular activities, community involvement, and friends and family. Practicing accountability in school sets students up for success in their future life commitments. Community Agreements in the Drama Classroom Community agreements are a collection of guidelines produced by students and educators together, about how everyone agrees to work together in class. The difference between rules and community agreements is that rules are made and enforced from a position of authority (usually teachers, but also principals and/or school boards), while community agreements are created and maintained by everyone in the classroom. 5 Ways to Quiet Down a Noisy Drama Class without Yelling Take a bunch of students who have been sitting down in other classes for hours, fill them to the brim with great ideas, and then ask them to be quiet and focus on the work. Yes, drama class is fun, but you still need to have your students’ focus and quiet so you can teach amazing lessons without having to constantly raise your voice. Save your voice and your sanity with these five techniques. Learning the Rules: “Act It Out” Game During the first week of class, it’s imperative to inform students about classroom rules and expectations to start on a positive note. However, it’s boring to just lecture students about rules, or hand out and read a sheet full of rules. “Act It Out” is an active game that enhances students’ understanding of the rules by having them get up and present them in a theatrical manner. Bonus: 3 Tips to Learn Students’ Names Quickly and The Importance of Pronouns Want your students to respect you and your classroom? Start by demonstrating respect by learning your students’ names and pronouns quickly and using them correctly.

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

We all know the magic that happens when students come together, share ideas, and create something bigger than themselves. But what about those moments when students are shy, or groups struggle to find their rhythm? How do we bridge those gaps and ignite the collaborative spark? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: How do you encourage teamwork & collaboration among your students? At the very beginning and throughout, I do team-building exercises. I also establish that this is meant to be a collaborative environment and while I as the director will send in the last decision, I want to hear other ideas and perspectives as we work together to create something. I also remind them that every one, every role is important. I think the analogy of everyone being their own unique gear turning in sync with a system of gears and collaboration is key to keep the drama machine going. (Chastity W.) I start my year with empathy exercises and team-building games. Everyone works together in integrated, varied groups. We also begin every class in-circle on discussion points like common fears, goals, and values. (Melanie F.) I establish the importance of humility from the beginning and nurture it for as long as a student is in my sphere. Humility helps an actor embody a character other than their own, helps foster a "we" rather than "me" attitude, and makes a student directable, teachable, team-able, castable. Whether performers, tech, whatever, humility (which does NOT preclude confidence) helps students focus on the overall success of the production, the program, the design team, running crew… (David N.) Two months of ensemble games and identity exercises! (Jane M.) Improv is a marvelous way to instill teamwork and build confidence. (Sutter ST) Additional Reading: Why Productions Need Collaboration Collaboration vs. Teamwork: What's the Difference? 5 Collaboration Games for the Drama Classroom Improv Games for Collaboration Collaboration Games: One to Twenty

In the world of theatre, orchestrating a seamless production is a delicate balance. Directors often find themselves having to gracefully handle overcommitted students juggling demanding schedules. It’s helpful to have practical insights and strategies that strike the right balance between individual commitments and the collective rhythm of rehearsals. But how do we find the finesse required to keep the show running smoothly while supporting each performer on their individual journey? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: How do you manage overcommitted students who miss rehearsals? Engage in Open CommunicationIt is very frustrating to have this happen, and I go to great lengths to outline the time commitment (the rehearsal schedule is out before auditions happen) and make it very clear that the expectation is that the show is the priority for the duration of the process. Parents are told all of this, students are told all of this — every cast member knows it. It helps, somewhat. Luckily, I have had casts who are at least honest about requests for time off, and most of them, I decline (no, you can't miss this rehearsal to go and audition for another play). Sometimes, I accommodate actors who have previous commitments, if they are particularly focused and able to put their full attention into the rehearsals that they can attend. I have little to no patience for those who have been accommodated and then show up and use the “I wasn't here, so you (me, the director) need to fill me in.” (Anne M.) Literally had this happen last show. I pulled her aside and said, “I think you’re too busy. You need to make a decision on what things are important to you right now. No hard feelings if you quit.” She agreed and then quit the next day. I told her it was the right decision and that if theatre was still an interest, and she made time, she should definitely audition again. Her leaving left an opening for another student and she did wonderfully. Sugar coating things for kids is dangerous and not healthy. Treat high school students like the young adults they are and middle school students like the young, inexperienced children they are. They are all much more resilient than anyone gives them credit for and it gives the students some advocacy in their lives and builds their confidence. It also allows for students to step up to some responsibilities. (W.T.) Establish Clear ExpectationsOof. This is big. I had three actors show up to my first one-act rehearsal. I called them in and told them that I wanted to see more commitment or I'd have no choice but to cancel the show. I haven't had issues since. (Caitlin D.) We send a letter home to parents and students outlining the commitment at the beginning of the audition process. Then, if they are cast, they must sign a contract pretty much agreeing to the three-strike rule and that they have full availability during production week. This seems to keep both students and parents accountable. (Natalie C.) Everything is made very clear up front and an agreement is signed when auditions take place and when rehearsals start. (Cherish T.) I try to meet them in the middle. I also make them sign a contract at the beginning of the production. This contract creates a limit for missed days. (Baldwin PR) We assigned understudies to every role, and our policy is after two absences the understudy gets the role. It does two things: 1) the cast knows up front how important attendance is and 2) the understudies really learn the parts! (Philly P.) Prioritize Essential RehearsalsI require that the show take precedence two weeks before we open. I also don't cast people who have more than one consistent conflict a week. I've also started doing shorter rehearsals during the week and adding a Saturday. (Spartan Drama) Implement ConsequencesHave understudies to replace them. (Elliott H.) I recall telling one particularly overscheduled student that I would need to assign them as the understudy. They were a bit sad, but in the end thanked me for taking the pressure off. (Jeff M.) Cast swings! Miss three rehearsals and the swing gets the part! (Linda) Involve Parents or GuardiansDepends on the circumstances. If their leaving is detrimental to the performance and we have no alternative, I try to talk to them and their parents about finding solutions to alleviate their stress in order to retain them. If their leaving isn’t impactful, I wish them well on their way and congratulate them on making a hard decision in learning how to manage their own stress levels. (Vicky B.) Sit them down with a parent present. Tell them they seem overcommitted because they have missed rehearsals. Tell them it’s not fair to the rest of the cast. Then spell out that a solution to remedy this includes permission to leave the show. Ask if they want you to step out for five minutes while they talk. Then get an answer right then and there. (Susan G.) Discuss Schedules & Time ManagementI ask for conflict dates AND a list of other activities and when they participate. If this entails missing what is too much for ME to deal with, then they are cast in a smaller capacity. They usually drop anyway. This gives those hard-working although often second-level people a chance. This goes for kids and adults. (Beatriz E-M.) Parents also need to see when their child has too much on the go. Allowing them to step down from something doesn't mean they failed. Casting someone who has a lot on their plate usually results in roles they aren't happy with. You can't cast someone into a role that requires time and dedication if they aren't going to be at rehearsals due to too many other commitments. (Cherish T.) They need to ask themselves, how did they become over committed? Being an adult is about time management and honoring the commitments that you make. You don’t get to be everywhere and be in every show and do everything you want because what happens is you stop showing up for the things you really don’t want to do. (Carolyn R.) Discuss CommitmentIf their role is main, I try to talk with their parents and the student to get them to finish what they started, and if that doesn’t work, replace them. If they do stay and finish, I make a note never to cast them as a main or pivotal character again, unless they somehow prove that they are prioritizing better. They broke trust in their commitment and one way they can prove they are trustworthy again is by doing smaller or insignificant jobs well. (Adra L.) It's hard to find a balance sometimes, especially when they have multiple passions that pull them in many directions. However, a production is a commitment and there comes a time when a decision has to be made. You either make the time and commit to the cast, crew, and show or you appreciate your time spent and move on to what matters more to you. You can have many passions in life but if you aren't careful, you'll burn out. That seems to be a major factor in today's teens/youth. (Cherish T.) It is impossible to give 100% to each activity at the same time. Kids learn from making hard choices, from time management, from failure as much or more than from success. If it were me I would approach it as a collegial lesson. “The cast depends on each person to create a whole performance. People count on you. Their time and effort is wasted if you are not prepared on stage the night of the performance. It harms the play, the cast members, and you. Another person from tryouts who is interested and prepared but not chosen is harmed as well. You take their chance to shine away by taking the part but not fully committing to it.” (Dianne F.) Theater MUST have its place and time amongst all other activities! Anything worth doing is worth doing well and that means effort. (Mandy G.) Create a Supportive EnvironmentI try to be really accommodating because they are 6th–8th graders, but it is incredibly frustrating. (Eliza L.) With extreme patience! (Jane R.) I am big on speaking for people who will never speak. Folks who say no to things to honor being in the show, miss out on events or re-schedule events to honor the show needs, skip lunch because otherwise they will be late, teach others it is fine to say no. You do not need to do anything. I have been in situations where other production members don't see that. More often than not, what I say goes or I say "Okay, when x, y, z happens (and it almost always does) it's on you to deal with and not me. (Kevin S.) I try to work with mine but unfortunately some of our other programs aren’t as flexible. In those instances I make sure my students know it’s not me forcing them to choose. (JMS) In our small school, I am always sharing with all athletics. It makes for late nights. I'm tired, they're tired. I make sure we have lots of snacks and water. I try to give grace when I have to. It's so hard. But if you think they're not committed, I always say they are always auditioning, showing who they are. (Dotty D.) I’ll work with kids. They get small parts that don’t really influence the show whether they are there or not. But I want a kid to be able to be in a show if they want to. If they aren’t honest and aren’t there, they aren’t in the scene and lose lines, etc. I used to fret. Now I just allow them to do their thing. (V.F.) Additional Reading: Helping Drama Students Understand Commitment

Ever found yourself at the helm of a lively, energetic, and occasionally disruptive drama club? In search of practical strategies and teacher-tested tips to maintain positive energy and curb disruptions? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: How do you handle rowdy or disruptive cast members during rehearsals? Provide alternative roles or outletsAssuming much of the rowdiness/disruption is during their downtime, I give them a job/assignment/task, whether it’s to help design a prop, run lines with a beginning actor or struggling reader, take notes, learn the sound system, etc. But above all else, if I can’t keep the students engaged and busy with valuable contributions to the production 80% of the time I ask them to be there, then I haven’t created a very empathetic rehearsal calendar. (Barry H.) Downtime for long periods while you block shows organically and expect students to be quiet and focused is not good for anybody. Give idle students a task if you have to focus on small group scenes. Make sure they learn when it’s almost time for their cue when backstage. I have also learned that reward gets more students onboard with behaving. So have a reward system. (JS) Self-control, respect, and remaining on task are expectations and can be achieved. That being said, I try to remember the age of the students with whom I am working. I try not to push them past what is developmentally appropriate. We take breaks often and regroup so that everyone can refocus. Team building games really help everyone feel like they matter, whatever role they play during a production. (LB) Establish clear expectationsI was a high school English teacher at the start of my career and quickly learned “the look.” It would stop them in their tracks. In the beginning I would also firmly and quietly say, “Not acceptable.” The kids knew they had crossed the line and I never had a problem again. (Denise H.) We have a culture of respect. Our contract, which must be signed and turned in before auditions, lays out the ground rules for participation. Then, we have a point system, and kids who are top scorers earn tickets for friends and family. The stage manager handles all point totals. We have very few problems. (Buena HS) It is part of their grade. Parents see that up front as well as the students. Be up front about expectations/rubric. (FG) Implement a warning system & consequencesRepeat offenders who have already been talked to, redirected, given a chance, given tasks to combat boredom — they get the boot. Safety issues and blatant disrespect are the things that are zero tolerance for me. (Angela H.) They would be replaced. The theatre is a dangerous place and there is too much work to do for the production to put up with that nonsense. One reason for that behavior is boredom. High school kids inclined to do that need training and a lot of responsibility. My experience is that they tend to be good leaders if given the proper direction. (John H.) I am there to work and so are the rest of the cast and crew. If you need a minute to collect yourself, go for it. Can't? Come back when you can. (Cherish T.) I dismiss them from rehearsal immediately. (Lisa H.) Call their parents to come get them. (Roberta L.) Create a safe spaceI begin with understanding needs and creating an atmosphere of safety. From there, I work to create an environment that everyone, no matter their circumstances, can enjoy the process and experience and thrive within. What many directors fail to understand is that mental health issues or neurodivergence can ignite so-called disruption in rehearsals. However, knowing how to hold space for the rehearsals to be equitable and inclusive is important because we want to build opportunities for everyone, not just those who can meet all the needs of our subjective expectations. (Traci F.) Sometimes this is ADHD, spectrum, or neurodiverse behavior. I try to take my cues from the other young people. Are they bothered by the disturbance? Because sometimes I can’t concentrate when there’s too much disorder, but the students are fine, and sometimes I think what I am presenting isn’t holding their attention. And then, if all of that seems to not be the issue, then it’s time for a one-on-one chat, where I ask them questions such as, “If I ask you to do such and such and you don’t do it, what are you telling me?” and “If I have to ask you several more times what do you think I should do?” Then that way they are basically firing themselves if they do the behavior, assuming that they can control the behavior. (Barbara M.) I think it starts with relationships. You build on the relationship and leverage goodwill. (TT)

Stepping onto the stage is an exciting journey, but, inevitably, conflicts and disagreements among cast members can occasionally take centre stage during rehearsals. To avoid chaos, directors need effective strategies and creative solutions to minimize conflicts and foster a harmonious theatrical experience. So, we went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: How do you handle conflicts & disagreements among cast members during rehearsals? Step Back & Talk It OutTake 10… Come back with suggestions… 😎 (Chris C.) Count to 10 (or 5 slowly!) and ask what the issue is. Then say, “No one is trying to be difficult. How do we move on?” (Guy N.) Each person gets their say. We decide what compromise can be made. If not, I’m the final decision. (Heidi T.) Do Team-Building ActivitiesStop and do a bonding activity. My fav is apologies, ahas, and appreciations. Everyone says all of those. Strong reset. (Cassandra G.) Hold Mediation SessionsI can’t tell you how many times I’ve said, “Keep the drama on the stage! Now… the two of you — you have an appointment with me at 2:30 today. See you then. For now, let’s get back to rehearsal.” (Rogue Playhouse) They can submit a form with me during rehearsal, and I mediate conflicts during breaks or after rehearsal. (Spartan PA) Establish a Code of ConductI explain that in the workplace we don’t always agree with our co-workers but we must remain respectful. (Claire PM.) Leave the egos at the door and focus on the production. The rehearsal process is a time for trying out or playing with ideas. At some stage I believe the person nominated as the director will focus on bringing it all together. (Gordon B.) The Director Gets the Final WordThe rule of acting is that only a director can comment on someone's acting or the stage manager on the loss of a line. (Deborah F.) Theater is a benevolent dictatorship. The director has the final say, always. Ideas can flow, but in the end the director decides. (Colleen M.) I tell my casts that every director has their own style, and while I consider myself collaborative, we don't have time for consensus. Someone has to make final decisions and that someone is me. If that is clear from day 0, then no conflict can fester. (Isaac W.) Additional Reading: Problem Solving: When Students Don’t Work Well Together

As theatre educators we understand the importance of making every student feel valued and inspired throughout their theatrical journey. However, we know that students can become discouraged when consistently cast in ensemble roles despite aspiring to take centre stage. Establishing strategies that foster confidence and resilience among these students is so important. But how do we effectively accomplish this? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: How do you support students who feel discouraged about consistently landing ensemble roles? Put the work inAsk if you can cover / learn a smaller role, to expand your skill set. If okayed, then show up and shadow quietly and respectfully. (Amy W.) Work on your craft with people who have succeeded at what you want to do. Arrive early and be willing to stay late. Focus for the entire rehearsal period. Maintain a positive attitude — never complain or bring your problems to rehearsal. Understudy every role in the production that you could play and be ready to step up in rehearsal to fill in for absent actors. No one starts as a lead — you have to consistently give your best and be seen doing so. (Kimberly F.) It gives you a chance to show how hard you are willing to work. If you work hard, show up, and limit excuses, a director recognizes that. And that moment at auditions when it’s between you and someone else for a lead role… trust me, they won’t forget that. (Matt B.) The work is the same whether it's a lead, a supporting part, or an ensemble. Do the work. Keep doing the work. Because if you don't like the work you're in the wrong business. (Allan R.) I always tell my students who are in the ensemble and want to do more to show up on time every day, learn their lines and everyone else’s lines, do their absolute best, and be an asset to the show. There have been many times that we’ve needed to replace a leading role for a myriad of reasons and those faithful ensemble students are the first to be promoted. Also, I’d tell them that every rehearsal is an audition for your next show with me. If you are a joy to be around you have a much better chance to get a bigger role next time. (Mary R.) Allow them to savour the chance to shineShine as an ensemble member. Interact with what is happening on stage. Make choices that will show directors, audience, and fellow actors that you are not just taking up space on stage. (Lauren P.) No matter what the size of the role is, it is how you shine in every role. (Danny J.) Make the role you got the BEST role it can be. (Amy R.) I have had leads and ensemble. Ensemble is so much more fun! Less stress, often more stage time. Just because you're in the ensemble doesn't mean you can't steal the show. 🤩 (Heather J.) Explain that ensembles are everythingEnsemble gets the most stage time and, as far as I’m concerned, is the hardest working performer on stage, between costumes, choreo, and random lines! (Talia K.) Theater isn’t about the leads. Theater is about collaboration. Being a part of it, participating, meeting the best people in the world. (Tommie G.) Ensemble roles require the ability to blend, and not everyone can do that. It's a gift if you have the right mindset. (Sarah P.) The ensemble makes or breaks the show. Great ensemble, great show. (Janine M.) Ensembles are EVERYTHING. They are the glue, the foundation, the heart and soul of storytelling. (Melissa C.) The most fun roles I ever had were ensemble. Less pressure, fewer lines, all the fun of parts of the team and experience. (Tara F.) I tell them about how I need strength and talent in the ensemble; it can’t just be a bunch of random useless people standing around. I need their skills and leadership to help build a full scene. Then I tell them about shows, good legit shows, where it was the ensemble that made that show great, not the leads — the ensemble made it shine. It helps the kids when they know you see their worth. (Andi C.) The ensemble can be really great as you often get the chance to play more than one character, you are in almost every large number, plus way less pressure to learn as many lines usually. Becoming a strong ensemble member can lead to becoming the understudy which is absolutely underappreciated. People should be proud of these roles. (Jessica H.) Show them how to learn from the experienceThere is just as much to be learned in the ensemble as there is in a solo role; it's all what you make of it. (Sarah P.) It’s not the size of the role, it’s the fun you make of it. (Alice X.) Focus on the importance of their role, and why it is critical to the success of the show. (Fiona Y.) I look for leadership. Can they help lift and inspire other cast members to lend a hand, work hard, get off book, master choreography, give their best? My leads are also leaders. (Colleen S.) I would say to them, enjoy and learn from whatever roles you are offered — chorus or ensemble is better than not being cast at all. Make connections with others, do your job well, don't complain. You never know, you might be perfect for the next leading role in a show that your director will be doing in the future. (Wendy G.) Being in the ensemble is one of the best positions to grow within. Not only do you see the stage more than many lead roles do, but you also have an opportunity to watch and learn from the best vantage point. Time. Sometimes you're just not quite ready. Never stop just because you didn't get that role yet. Key word: yet. (Cherish T.) Encourage them not to give upBe great in your ensemble part and make it your own. If you do it well, you will be noticed and placed in a suitable main role eventually. (Melissa S.) I agree with many other responses but my foundation is: “Theatre is where everyone has a place,” and I remind them of the unique characteristics I see them bring and that the show would not be the same without them. (Jennifer M.) Each role is equally as important as the others. I see you and I notice how hard you are working. I am incredibly glad to have you here and our show wouldn't be the same without you. We can only take so many kids a year in our show and you made the cut, so be proud of yourself and let's continue to build your skills in theatre. (Morgan S.) Your place in this department and in this group is larger than any single role. It doesn’t matter what you’re playing, we need you here. (Carlos G.) Don’t give up until it’s not fun anymore. (Rochele S.) Commit to the role, whatever it is. Fearlessness, good attitude, and willingness to listen to constructive feedback. There is a role that will find you if you work toward being ready for it. (Mitchell B.) Additional Reading: * The Importance of Ensemble Thinking * Ensemble is More * Top 10 Ensemble Plays for Students * Ensembles are Characters Too * There are No Small Parts

Make no mistake: Drama class is not for the faint of heart. Creating theatre is physically and mentally strenuous and drama students need to be strong. Performing onstage and working backstage are demanding and require focus and endurance. In drama and theatre, your body is your instrument so you need to keep it “in tune.” For that, we’ve rounded up some great articles to help your students incorporate health and physical fitness into their routines. What are your best ways to help your students get strong and stay well? Note: When discussing health and physical fitness, students should not feel that they have to lose weight, get toned, or change their body type to get roles or otherwise succeed in theatre. Fitness comes in all shapes and sizes. Focus on choices that help students to feel healthy, strong, and well, rather than on outward appearance. • First and foremost, water. Most of us do not consume enough water despite having a multitude of fancy water bottles and mugs. Did you know that the average human body is 60% water? Water keeps our organs and cells healthy, and of course keeps us hydrated. Water keeps the vocal folds lubricated and helps them recover faster after heavy use. So when you need a pick-me-up, grab your water and take a big sip. • Why do we warm up before drama activities? Both to get us into the “drama mindset” and to ensure our bodies are in peak physical condition to leap, dance, twist, cavort, and every other wonderful and wacky movement that the director comes up with. Here are some physical warm-ups for you: 3 Fun and Physical Warm-Ups to Get Your Actors Moving: Doodles, Elephant Walk, and Puppet Dance Party. As well, here are some physical, vocal, and mental warm-ups and tips, all in one article! • Physical fitness is important for any drama student to work on their strength, flexibility, and endurance, which are necessary for both plays and musicals. Here are 3 Fitness Tips for Drama Students that are fun, or your students might enjoy dancing in the drama classroom, which is a great way to incorporate movement and physicality into the day. • Vocal health is imperative, regardless of whether you are performing a musical or a play. Here are three tips for keeping your voice healthy, three MORE tips for keeping your voice healthy, and advice from teachers about teaching vocal safety to students. • Here are some vocal exercises for your students: A Simple Breath Control Exercise for Actors & Singers, Projecting Your Voice Without Yelling, A Vocal Exercise for the Articulators, and Tips to Improve Enunciation. As well, here’s a troubleshooting guide for why your actor isn’t projecting their voice and tips for solving vocal projection issues. • We say this to our students all the time, but it bears repeating: When it comes to showtime, it’s important to make smart choices. Things like getting a proper amount of sleep, eating nourishing food, avoiding screaming and screeching, staying away from risky activities where students might get injured, and wearing warm clothing in cold weather may not be fun in the moment, but will keep students healthy in the long run. Even though show week might feel like it speeds by, students need to stay well all the way from opening to closing! • Mental health is just as important as physical health. If your students are feeling anxious or nervous, try some mindfulness techniques or establish some rituals like the show circle. Let your students know that your drama classroom is a safe space and encourage them to reach out if they need additional help.

Drama class is a fantastic place to learn transferrable skills and work towards applying them to real-life situations. No matter what the exercise is, there is always a transferable skill to discover, such as effective communication, teamwork, problem solving, creative thinking, and mindfulness. Here are 10 of our best articles that focus on how drama class and theatrical skills can be applied to the real world. Even the most reluctant drama student will find a useful concept to apply to their daily life within these articles and exercises. How Do You Measure Success in the Drama Classroom?While of course grades are important and required for students to advance, students and educators should look beyond A’s and B’s. From problem solving to confidence building, in this article we look at various ways of measuring success beyond grades. 21st Century Skills in the Drama ClassroomThe skills of the 21st century are not about technology, even though every teenager is fully wired. They’re about teaching students to think in a new way. This post includes classroom exercises and articles about the four C’s of 21st century skills: critical thinking, creative thinking, communication, and collaboration. Finding Theatrical Opportunities Outside the Drama ClassroomDrama class teaches transferable skills that can be used in the “real world.” Encourage your students to think beyond just performing. Being well rounded and having a variety of transferable theatrical skills will help your students go far. How can what students learn in drama class be used outside of drama class? Communication in the Drama ClassroomCommunication is vital to a successful theatrical experience. In fact, it might be the most important 21st century skill students can learn in the drama classroom. We communicate with each other in the real world every day — verbally, nonverbally, and physically. This article gives lots of suggestions for exercises and lessons to practice communication in your classroom. Collaboration Games: Job InterviewAt first glance, the Job Interview game sounds easy: practice interviewing for a job (a real-world skill). However, the twist is that students must work together to allow the interviewer to guide their new hire to discover what job they’re applying for. 20 Icebreaker Questions for Drama Students To Get To Know Each Other“What did you do on your holiday?” is boring. The 20 open-ended, inclusive questions in this post will help your students get to know each other, as well as give you deeper insight into their lives and personalities. Use these questions for the traditional “pair up and interview your partner” exercise, as full-class group discussion questions, or as written journal prompts. 3 Mindfulness Techniques to Combat Pre-Show NervesPracticing mindfulness is helpful for drama students, because it can help them combat pre-show jitters. You can add mindfulness techniques to your pre-show warm-up routines and teach these techniques for students to use on their own. Best of all, they don’t take much time and they can use these techniques virtually anywhere. Problem Solving: When Students Don’t Work Well TogetherTheatre and drama class are collaborative. However, it’s impossible for every student to get along with every other student. What can we do when these students are then expected to work together in a group setting? Have them practice the exercises in this post! Exercise: Problem-Solving for Student DirectorsGiving students the opportunity to direct is a great thing; it helps them develop so many skills and abilities. However, being in a leadership position can be nerve-wracking for students. This exercise gives students the opportunity to explore and practice various problem-solving situations before they get into rehearsal. Acting in Everyday LifeMany students take drama class not because they want to, but because they have to. This article takes another look at the transferable skills learned in drama class and how to apply them to everyday life, particularly in the working world.

You’ve chosen a play, cast your actors, run lines and are preparing for the rise of the curtain. But as opening night approaches the nerves and the butterflies are taking up more stage time for some actors than they should. How do you help your actors deal with stage fright so their performances can shine? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: How do you help students deal with stage fright? Take it one step at a timeI cast them in small roles at first and work up to bigger things. If it’s possible to give them partner work with other students who can encourage them, that’s great too. (Patriot Playmakers) I say the bit about it going away once they get the first line out. (Marilyn L.) Baby steps… and letting them in on the multitude of celebrity performers who also face this issue repeatedly because of the art they love. (Barry H.) Dig a little deeperI tell them that when they know what they’re saying, and why they’re saying it, when they understand the circumstances, when they don’t “memorize” lines, but “understand” the lines, when they rehearse until they are fully prepared, a lot of that fright will disappear?. (Patricia L.) Practice makes perfectIf they have not been on stage before, you might try turning on all the stage lights (like it would be for a show) and turning off all the audience lights. This way they may not see into the audience. Remind the person they are portraying someone else. They aren’t themself but someone else who is part of the story being told. (Will S.) Normalize the fearI always tell my students that stage fright is normal, it just means that they really care about what they are doing. (Lori W.) When it comes time for the performance or even in a rehearsal where the focus is more on them, let them know that it’s ok! Stage fright is normal in every avenue of performances. If you still get nervous or an adrenaline rush or butterflies, even after many shows, you know you still love it! (Cherish T.) Patience and use your veteran kids to help give your shy kids confidence. (Randy I.) Explore the mind-body connectionYou have to teach the skill of managing performance anxiety so each actor can do it independently. Slow the breathing through breathing exercises, encourage good mental and emotional preparation beforehand, complete a thorough physical and vocal warm-up, and use visualization for success. (Elizabeth S.) Deep breathing exercises. In through the nose for a count of four, hold breath, release breath for a count of eight. Repeat. (Dave S.) Say your lines while jogging or doing burpees to train the brain that it’s ok for your heart to race when doing these lines. The brain won’t go into meltdown when their heart starts racing with panic and they will then realize they can do it. (Emma R.) Need more advice and tips?We’ve got you covered! How to Solve Common Beginning Actors’ Mistakes Helping Drama Students Succeed: The Introvert

Time is one of the biggest challenges for a drama teacher trying to put on a production. There’s never enough rehearsal time. Some rehearsals drag on forever, while others speed by in the blink of an eye. We agonize over our schedules, trying to use every minute as efficiently as possible, only for it to go out the window when an issue arises out of nowhere. But we can work towards using our time effectively by planning ahead, creating useful rehearsal schedules, and helping students develop their own time management and accountability skills. Time management takes practice, and you’ll get tons of practice by doing shows with your students. Here are some of our best articles about time management and scheduling: Creating A Rehearsal ScheduleFirst things first — creating an efficient rehearsal schedule is essential for your production. When are your performance dates? How many times per week do your students need to rehearse? How many total hours of rehearsal will you need? Will your rehearsal schedule conflict with the current cafegymatorium bookings? Five Tips for Dealing with Scheduling Policies & Conflicts, For DirectorsYou’ve got your rehearsal schedule planned out. Now, let’s go deeper. How can you use your time most effectively? How can you ensure your time and your students’ time isn’t being wasted? What policies do you need to establish to ensure that students show up to rehearsal? How does your crew fit into this puzzle? The Importance of the Off-Book RehearsalStudents need a hard deadline to have their lines memorized by. Students are busy and it’s easy to procrastinate on learning lines. However, memorizing lines is only the tip of the iceberg with acting. If students are struggling to remember their words, they can’t focus on every other aspect of acting, such as characterization, subtext, physicality and movement, connecting with fellow actors, volume, and diction. Rehearsals You Need to Include In Your Schedule (That You May Not Have Thought Of)Many things need to be rehearsed with your students in addition to the typical acting, singing, and dancing list. This article makes suggestions for additional rehearsals you may wish to add to your schedule, such as a transitions rehearsal, a sitzprobe, and a costume run. Addressing Scheduling Conflicts with Show & Student CommitmentsExperienced teachers share their tips for dealing with conflicts and scheduling issues. Think about the five C’s: being clear about your expectations, having students and parents sign commitment forms, collaborating with other student groups, finding creative solutions, and being upfront about consequences for missing rehearsals. Theatrical Time Management for StudentsParticipating in a school production not only gives students an opportunity to perform or work backstage, it also teaches them about time management, which will serve them well in their lives outside of school. This article features seven tips to help students manage their responsibilities, including school, part-time jobs, social lives, and (of course) theatrical rehearsals and conflicts. Self-Management in the Drama Classroom: Plan, Execute, ReflectThis hands-on exercise helps students practice elements of time management: knowing all their commitments and writing them down, prioritizing their to-do list, breaking tasks into manageable chunks, executing a plan of attack, and reflecting on what went well and what could have gone better. Then, they can consider how to apply this practice to their everyday lives. Accountability: In Rehearsal, the Classroom, and as a CitizenAccountability is important in every area of a student’s life. Start with rehearsal basics: be there, be on time, and be ready to work.

A successful theatre experience requires respect for and from everyone involved in the production — from the performers to the backstage crew to the audience. No matter the role, everyone has the same goal: to be transported to a shared entertainment experience. But how do you ensure everyone approaches this objective with the same set of guidelines and expectations? We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: What are your top theatre etiquette rules for your students / audience? Applause, applause, applauseIf you find something humorous, laugh or clap as appropriate. Performers feed off the audience’s energy. (Molly W.) Always give enthusiastic applause. I tell students we are applauding the contribution of the performers, not necessarily the end product. (Tanya B.) A bow is a performer’s way of thanking the audience, and applause is the audience’s way of thanking the performers and crew, so say “Thank you”! (Jenny O.) Applaud the underdog. When things go wrong. When something didn’t work. The difference between theatre and film is it’s human and real and you’re part of it. (Chris R.) Allow yourself and others to have authentic emotional responses: laugh, applaud, cry — let the performance touch your heart. (Kathryn D.) Silence, pleaseDo not talk during the performance. It’s rude to your neighbours and distracting for the performers. (Molly W.) Do not smack, chew, or pop gum during a show. If you have any type of candy in wrapping that will make noise, open it before the show begins. (Molly W.) Energy into the performance, no side conversations. (Kathryn D.) No technologyDo not film any portions of the show or use flash photography during a performance. (Molly W.) Turn off and put your phones away. You can go an hour or two without having to check notifications. (Shannon J.) Respect the showDon’t waste people’s time. Learn your lines, don’t show up to a performance late. (Jasmine I.) If it’s not yours, don’t touch it. (Alise A.) Early is on time. On time is late. (Suzette D.) Don’t let your behavior get in the way of someone else enjoying the show. (Laura D.) Every moment will only happen once. So listen. Capture it. (Chris R.) After you work really hard, have fun — it’s called a “play” for a reason. (H.D.) Don’t get up until intermission or the end of the show. (Caryn B.) Everyone countsSay thank you to every single person who contributes (tech, volunteers, parents). (Jasmine I.) Be kind to those on stage — mistakes happen! (Alise A.) Respect your backstage crew/techs. Nothing happens without them! (Sue K.) Be generous. Theatre lives by the audience. Young performers learn in full view of them. Those who support it make performance possible. The audience is part of the company. (Chris R.) Want more information on theatre etiquette?We’ve got you covered! • Classroom Audience Etiquette • Theatre Etiquette 101

Let’s talk about dressing room setups. When your students are getting ready for a show, are they comfortable with their changing facilities? Does your setup meet the needs of all your students? What’s your policy on student privacy? There are many reasons why a student might need a different dressing room setup without being singled out in the process. You may have trans and non-binary students. You may have students who are uncomfortable changing in front of others because of modesty concerns or body image issues. Many students need a private space to change, so put an option in place before it becomes necessary. Make the option commonplace and available to all students, regardless of their reason. We went straight to the source to get the inside scoop from those who’ve been there: drama teachers. We asked: When getting ready for a show, how do you make your actors comfortable and not single anyone out? How do you address students who want privacy for changing? What solutions have you tried? Separate stallsI worked in a youth theatre that simply had one big dressing room area with several stalls for changing. (Picture the changing stalls when you try on clothes in a store.) It was great! Everyone had privacy to change and everyone was together in the dressing room area to do makeup and such. There was no need for binary male/female spaces. (Jennifer R.) We’ve made these pop-up changing rooms available to anyone who would like to use them. (Laura M.) Editor’s note: Need a simpler/cheaper solution? If you have drop ceilings, you can push sheets between the metal grid and the ceiling tiles to make your own pop-up changing room. You can also put a clothes hanger in the ceiling and hang a sheet off of it, or ask parents for pop-up shower tents. Student choiceLast year one of our trans boys was met with a rapturous chorus from the other boys from their changing room announcing, “_____ your costume’s in here!” Our students have the option to change in the changing room of their choice and I make an announcement to the entire cast that the backstage bathrooms are available to anyone. What has worked for us is to give everyone the same message and not make trans kids feel any more segregated than they already may be. So no one-on-one chats, for instance. Just mutual respect. This works for us, and each year the number of trans kids participating has increased. (Georgina C.) I typically have three dressing spaces (male, female, and gender neutral), and students are allowed to select whichever one they’d like. They’re also welcome to use the bathroom stalls if they want more privacy. All wig and makeup assistance is done in my black box space (so that people are going in and out of various dressing rooms). I have closed off areas backstage for costume changes if needed. (Heather C.) If you have a trans person in your company it’s important that you don’t “out” them or make them identify publicly as trans if they choose not to. I worked on a show with a trans person who identified themselves to me as trans but opted not to reveal this to the company. They were happy in the shared dressing room of their identifying gender and wore base layers to avoid any need to change in front of anyone, although each dressing room has a private bathroom area. It also sparked us, as a theatre, to create a policy around transgender company members for the future so we have a careful and respectful process in place. The biggest and most helpful thing was asking this cast member to advise us about what they wanted/needed and following that carefully. We regularly checked in with them, usually over email, to keep their anonymity and to see if our plans were working and they felt supported. It worked well. (Sally G.) I have a non-binary student. For a recent school performance, the students were given a survey to fill out asking their dressing room preferences: male, female, or gender neutral. The students’ survey responses were used to assign dressing room spaces. (Lynn K.) Base layersEditor’s note: Be aware of students with body issues who may be uncomfortable being in their undergarments around others. All kids are required to have an under layer — a neutral-colored tank top and slim-fitting shorts or leotard. (Rebecca D.) My kids all wear “underclothes” (tank top and shorts/leggings) so any changes that need to happen can happen anywhere. They go to whatever bathroom to make the initial change, then that’s what they wear under costumes. (Andi C.) In my youth theatre, everyone must be dressed in undergarments that allow for changing anywhere. Usually a dance liner or black tank top and spandex shorts. No issues. (Roberta W.) Set a scheduleCurrently we have set dressing room times because we just block off a space in our costume shop. Anyone who is uncomfortable with that uses a bathroom. This works for gender and other possible modesty needs. (Shelby S.) Finding non-traditional spacesA few years ago, we arranged for a student to use one of the private bathrooms in the main office as their changing room. (Jim D.) We don’t have dressing rooms. We don’t judge anyone for where they dress. Some go in my bathroom, some dress backstage, some go in the student bathrooms. No one talks or discusses who goes where. Many of my students identify as trans or non-binary… respect is a norm. Not having dressing rooms helps this, I think. Nothing is identified and because there really is no privacy my students are told to wear underclothes like leggings and undershirts under their costumes and show up that way for comfort’s sake. (Wendi J.) We are lucky that we have single-use bathrooms available in the backstage area. Wearing the underclothes is key as well. I allow students to arrive very early if they want to. (Joanne F.) Get creative and innovative with makeshift dressing rooms. Any kind of tri fold partition will work. That way you don’t have to identify gender. It’s for anyone to use. It’s an option for everyone. (Cynthia W.) I used to use the facility restrooms. I have a number of students who aren’t comfortable with changing in front of others, for modesty or body image issues. That’s not the best solution, but it’s another alternative. (Michael A.) Disclaimer: Check with your administration and district policy on anything discussed in this article with regard to LGBTQ+ (LGBTQIA, LGBTQ2S), as laws vary from region to region.

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

Drama teachers are special people. Sharing their passion for theatre and the arts with their students is an incredible gift, and the impact of a great drama teacher extends far beyond the classroom. So, we asked drama teachers: What is the best thing about being a drama teacher? So. Much. Fun.I laugh every day at work. Often multiple times a day. I cherish that. (Karl M.) People don’t bat an eye when you dress weird. (Brittany M.) It’s fun. We get to be silly and create things together. (Brianna F.) Being able to let loose and have fun with the kids. (Shannon J.) Getting to play all day long. (Adrienne L.) Allowing kids to play again. (Steven S.) The lightbulb momentsTeaching them that playing is beneficial, learning how to embrace failure, and creating a growing mindset. (Danni R.) Seeing students whose master status is “I can’t” become confident and capable young adults. (Pat S.) The lightbulb moments. (Sharon S.) Seeing the lightbulb, enjoyment, and excitement in my students!! (Caitlin P.) Watching people find the joy of discovering that they can do way more than they thought, especially kids! (Angela V.) The creativity! The ‘AHA’ moment of how to play a scene or realizing why cheating out to the audience is to their advantage! (Chuck R.) Watching them ‘get it’ and seeing their little minds explode with creativity! (Vicky B.) Lightbulb ‘AHA’ moments. (Amina J.) Watching kids discover their voice! (Christi W.) Helping students become their best selvesWatching kids grow, soar, and maximize their creative potential. (Bernie D.) Watching students find a part of themselves they didn’t know existed and making something really positive out of it! (David B.) Getting a bunch of students together and showing them how through teamwork they can produce a shared experience of something that they will remember for the rest of their lives. (John S.) Witnessing students come alive through play, shifting into states of creative potential and exploration together, revealing the potential for this at any given moment. (Diana W.) Seeing kids learn and grow through something they love! (Skee R.) When a kid comes in nervous and says “I can’t do this” and in the end asks when auditions are!!! (MMS) Watching them discover their talents and ultimate potential!! (Greer M.) Empowering students. (Kate W.) Building relationshipsSeeing their talent grow and developing long-lasting relationships. There’s so much more but that’s a start. (Kim M.) Being the teacher a student remembers the longest after graduation. I’ve even gotten a couple of wedding invitations. (Kim R.) All my students and developing a bond with them that they have with no other teacher. (Cha Y.) Being the only class of the day where students can be themselves, create joy, and make meaningful connections with other humans. And this isn’t me just making assumptions — it’s what my students tell me. If that doesn’t fill my life with a sense of meaning and purpose, nothing will. (April M.) Connecting! (Ray W.) The impact and relationships made! (Paula S.) It’s all about the studentsSeeing kids come alive with what they love! (Jill O.) When I make students see that they are as beautiful and valuable as I see them every day. (Jeff S.) The students! (Katie B.) Definitely the kids!! (PPB) Every student and every moment. (Denise H.) Sharing a love of theatreTeaching the future of world theatre who will become theatre educators, performers, technical designers, production staff members, arts administrators, playwrights, then if they choose, parents who will share the power of theatre with their children, family members, volunteers. (Gai J.) Going to the theatre, cinema, or turning on a television and seeing former students doing their thing. (Heidy P.) Building a communityWatching someone find the group in which they thrive! (Nadine J.) The weird magical family we create together!! (Ali W.) The love and community, creativity, and laughs. (Jen D.) All the collaboration! (Brooke P.) Growing togetherGrowing with them! (Jackie V.) The discovery of self for all of us. (Lawrence W.) Being able to see a different side of the students outside of the classroom and being able to express myself in a different way outside of the classroom. (Irene I.) The joy of teachingThe memories. (Ale T.) Creating something new every day! (Jim M.) Changing lives! (Deborah F.) Everything! (Michael S.) Doing something new everyday! No two days are alike! (DFL) Joy! So much joy. (Hannah L.) The adrenaline of rehearsals. (Vanny E.)