Schedule

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

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.

Creating an effective rehearsal schedule is a crucial part of a school production’s success. There are many important rehearsals to allot time for, including this one: the off-book rehearsal. What is the off-book rehearsal?This is the rehearsal for which actors must have all lines (and lyrics, in the case of a musical) completely memorized. Sounds simple enough. Why is an official off-book rehearsal so important?First and foremost, students need a hard deadline to have their lines memorized. Students are busy and it’s easy to procrastinate on learning lines. The off-book day gives them a chance to see how many of their lines they actually know and how much of their blocking they’re able to retain while performing their lines (“Wait, where do I exit again?”). When it comes down to it, memorization of 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 – characterization, subtext, physicality and movement, connecting with fellow actors, volume and diction, and so on. The off-book day also provides an opportunity to measure your students’ commitment. A show is only as strong as the weakest performer in it, and a student who hasn’t fully memorized their lines by off-book day is wasting everyone’s time. It’s disrespectful to others who have taken the time to learn their lines, and causes stress for everyone. However, off-book day isn’t just for students – it’s important for teachers as well, as it gives us a deadline to have all the scenes blocked. In addition to providing a hard deadline for students to be fully memorized, the goal of off-book day is to do a full “stumble-through” of the show from top to bottom. This is your reality check rehearsal. It gives everyone – teachers and students alike – the opportunity to see how much of the show is actually complete, and identify any parts that need adjusting or fixing or have been missed or forgotten altogether. Therefore, determining when to schedule your off-book day is of utmost importance. When should you schedule the off-book rehearsal?Some directors follow the rule that once a scene is blocked, students must be off-book for that scene by the next rehearsal. The thought is that students should have an easier time memorizing small chunks of the script throughout the rehearsal process, rather than trying to cram all their lines into their brains at a later date. Whether or not that actually happens is up to the student! When I’m directing a show, I schedule the off-book rehearsal to be two-thirds of the way through the rehearsal process. To do this, make a list of all your rehearsals, or plot them onto a calendar, and count back from technical rehearsal. (I don’t count tech and dress rehearsals as part of the rehearsal dates – if students aren’t off-book by technical rehearsal, that’s a big problem!) For example, if you have 24 rehearsals, you’d make the 16th one off-book day. You may want to adjust the date a little bit, depending on your knowledge of your students. For example, is it more realistic for your students to be off-book for the last rehearsal before winter break, or for the first rehearsal back from a long weekend? You know your students best, so adjust accordingly – one or two days earlier or later isn’t a deal-breaker. However, I’ve found the two-thirds mark to be a “sweet spot” for scheduling the off-book day. It’s not so early in the rehearsal process that it’s unrealistic for students to be fully memorized, but it’s not so late that it causes panic before tech and dress rehearsals, and there is still time to tie up loose ends, such as scenes that need adjusting or transitions that were missed. I also clearly indicate when off-book day will be during the first rehearsal, when I am going over important dates with my students. I put it right on the rehearsal schedule so nobody can claim they didn’t know, or that I didn’t tell them when it was. No excuses! Clearly indicating the off-book rehearsal on the schedule creates accountability for everyone involved in the production. Having that clear deadline will reduce stress and make the rehearsal process smoother.

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

Creating a rehearsal schedule can be a daunting task, but it is absolutely necessary for your production. Staff and students (both actors and crew members) must know the schedule expectations, so they can accommodate the production into their schedules. Having a clearly laid-out rehearsal schedule ahead of time will ease headaches and reduce conflict clashes, smoothing the overall process. For the purpose of this blog post, I assume that you (the teacher/director) are creating a rehearsal schedule for an extracurricular production and will be rehearsing solely outside of school hours. However, you can also adapt these guidelines to an in-class production. When I am creating a rehearsal schedule, I like to start from the performance week and work backwards. Once you have decided when the show will run and how many performances will occur, calculate how many hours you feel you and your students will need to get the show on its feet. This will differ from director to director and show to show. If you have directed shows in the past, go back over your schedule and count up how many hours you used to mount each show. Did you feel adequately prepared, or rushed? From there, determine how many times per week you will be rehearsing, and for how many hours per rehearsal. Would it be more useful to rehearse for two hours, three times a week, or for three hours, twice a week? If you are starting early and have four or more months until show time, you might want to start with rehearsals twice a week and then increase the number closer to performance time. But if you have fewer weeks to prepare, you’ll need to rehearse more frequently. Once you’ve determined the number and frequency of rehearsals, you’ll need to schedule your technical and dress rehearsals. Technical rehearsal (or “tech rehearsal,” for short) is where the technicians, stage management, and actors get to work together for the first time with lights, sound effects, microphones, and special effects all together in the theatre, rather than in a rehearsal space. The dress rehearsal is exactly what it sounds like: running the show with lights, sound, costumes, props, hair and makeup–it’s one last chance to rehearse everything before an audience comes in. These rehearsals are longer than regular rehearsals (usually 5-6 hours each) and often stressful, but absolutely necessary for your performance to be a success. Continue to work backwards. Your last few rehearsals before tech and dress should be devoted to show run-throughs. Some can focus on just Act One or Act Two, but you should aim to have a minimum of two full run-throughs of the entire show for timing purposes. If your show is a musical, you will also want to include a sitzprobe rehearsal. Sitzprobe is a German word meaning “seated rehearsal.” This is where the band/orchestra and cast play and sing through the musical together for the first time, without any staging or production elements. A sitzprobe is beneficial for the actors so they’ll know how the music truly sounds and how their vocals blend with the music (or get drowned out by the band!). It’s also beneficial for the band, so they get familiar with the cast and know the tempos and volume level they need to play at. Better to work out band/vocal problems now before tech rehearsal. Next on the backwards rehearsal schedule is costume fittings and costume runs. Students will need time to be fitted for costumes, have a costume parade (so the director can see and approve the costumes), and rehearse in their costumes (so they know if they have any problems, like an impossibly fast change or restricted movement due to the costume). Note: Be sure to be adding props and furniture throughout rehearsals, so actors can practice entering, exiting, and interacting with these items. It’s much easier to integrate them throughout the rehearsal process than to try and add everything during tech and dress. Moving back to the beginning of your rehearsal schedule, your first few weeks of rehearsals will be devoted to an initial read-through, cast bonding exercises, establishing blocking, developing characters and relationships, and for musicals, learning music and choreography. Allot time in your schedule to visit every scene at least twice: once to approach the scene and create the initial blocking, and then a second time to review, adjust, and add nuances and depth. You will want to leave some rehearsals near the middle of your schedule as “TBA” or “TBD” (“to be announced/determined”), so you have some wiggle room in case you need to revisit some scenes or work ahead. Making a rehearsal schedule is not an exact science. You’ll need to adjust as you go along. It takes practice! Every show, cast, and rehearsal process will be different. Be as prepared as possible, but always leave yourself room for flexibility!