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In this lesson, students are introduced to learning choreography and focus on specific performance goals. Choreography in musical theatre is often quite tricky. Not only do performers have to coordinate lower and upper body movements, they have to sing, they have to commit and demonstrate endurance, and don’t forget emotion!

In this lesson, students will take what they have learned and work in groups to create a movement presentation which includes elements of all the movement techniques, performance goals, and learned steps throughout the units.

In this unit, students will combine knowledge of the previous two units: singing and movement. In this lesson, students will review singing technique and musical tactics and work on a section of a song in groups.

In this unit, students will combine knowledge of the previous two units: singing and movement. In this lesson, students will review movement exercises and techniques, learned dance steps, and add on a few more.

In this lesson, students will analyze how large-group musical theatre numbers use song and dance to tell a story, demonstrate character, and use singing and movement techniques to present the best possible performance.

In this lesson, students will take what they have been learning up to this point and apply it to a group number musical theatre performance. Students must demonstrate singing and movement as part of their presentations. They must also submit a variety of analysis handouts as well as reflect on their choices for singing, character, and movement. Students will track their progress throughout rehearsal in their journals with specific mention of the goals for the curriculum: risk taking, endurance, confidence, commitment, character, and emotion.

The business of keeping a Broadway show (or any show that’s running for months or years like a national tour) running nonstop for a long period of time requires an extensive support system of people. This lesson offers four different looks into different areas of that extensive support system: Understudies, Swings, and Standbys; Dance Captains; Dressers and the Wardrobe Department; and the Sound Mixer in the Sound Department. Be aware that the roles presented are just a few of the possible theatre roles that can be shared. You may find, or have knowledge of, a different theatrical real-world role you wish to share with students. Use the provided lesson as a template and substitute your own material.

In this lesson, students will watch a variety of Broadway actors in the latest revival of Cabaret answer the question “What’s the best advice you have for someone who wants to perform on Broadway?” Students will analyze the advice given, look for similarities and differences, decide on the best piece of advice for them, and reflect on how this advice could apply to their current work in this class.

Students will, either individually or in groups, research a musical theatre performer and complete a project that demonstrates their knowledge (be it a written response, oral presentation with slide deck/physical display board, or a theatrical moment). As part of their presentation, students will have to perform, either through song or movement, something that the musical theatre performer is known for or has done (for example, a verse from a song in the latest show they were in).

This is an introductory improv lesson that includes a discussion on how improv connects to musical theatre. You may find that students are well versed in the guidelines of improv scenes; it all depends on your situation and your students.

Improvisation teaches us to concentrate and listen in scenes. An actor uses their voice to show how they interpret a character and what the character wants to communicate to an audience. In this lesson, students will practice exercises with vocal responses that encourage them to both concentrate and listen fully.

Another tool that actors use is movement (and body language). An actor’s use of their body can tell a story within itself. The body is essential in communicating emotions. Along with the mind (thinking of a way to demonstrate how a character feels) and the voice (expressing what a character feels), the body is the final piece of the puzzle. This lesson allows students to practice through movement-focused improv activities the important role of communicating through body language.

Sometimes actors have to fill in the blanks of a character. Musical theatre actors use their minds (another actor tool) to envision the type of character they want to portray. It is often up to the actor to come up with the character’s personality, movements, and mindset. While the script, music, or libretto music tell an actor what to say, the musical theatre performer must bring the character to life through their own techniques, personal background, and experiences. This lesson prompts students to create characters through improv exercises.

Musical theatre performers must be in touch with their emotions and have good emotional intelligence. You have to be in control if you’re going to sing an emotional song night after night. While singing, it is important to understand and be able to express appropriate emotions when needed. To do this, we must use our five senses: touching, seeing, smelling, tasting, and hearing. In this lesson, students will demonstrate sensory awareness through improv exercises.

Acting out a planned improvisation is a great way to get your musical theatre students thinking on their feet as actors. Students get to practice this skill by singing, dancing, and acting in their scenes.

Now that students have improvised a scene with existing songs, it’s time to take the experience to the next level. In this lesson, students will learn the framework for how to improvise an original musical song based on a suggestion. They will reinforce elements of a musical and find out how to incorporate the tenets of improvisational theatre by starting the process: creating a duet. This lesson provides students with a small introduction, but depending on how your students connect to it (and your schedule) they could certainly continue on beyond the time allotted to improvise an entire musical.

Every theatrical experience, be it on stage or on screen, starts with the audition. That is how most actors earn roles. If they want to act, actors must learn the steps of the audition process. The audition process is part of understanding the overall role of the actor, so it’s important for all students to participate in that process. Even if they never actually have an audition in real life, they will certainly apply the tools gained in this unit: planning, time management, behaviour management, etiquette, detail work, self-confidence, and communication.

Part of the audition process is preparation. And that is not just memorizing a single monologue or one song. It’s preparing a wide variety of material for a variety of situations. In this lesson, students will be introduced to the musical theatre audition portfolio, a document that professional musical theatre performers put together so they are ready for any type of audition that may arrive, in any genre of musical theatre. Creating a portfolio is a real-world task for a musical theatre performer.

An actor needs two documents when they audition for a role: a resume and a headshot. This lesson will cover the Acting Resume (specific to the musical theatre performer), and the next lesson will cover the Headshot. What should go on an acting resume, and what should stay off of it? What is an auditioner looking for? Students will discuss the purpose of an acting resume, review a model, and reflect on the process. Students will use this template when they create a resume for their mock auditions.

While this unit does not require students to bring in a headshot, it is an essential document in the real-world audition process. A good headshot will help a director remember an actor. A bad headshot can get actors rejected before they step through the door. In this lesson, students will complete exercises that respond to the question “What makes a good headshot?”