Rebootilization

Welcome to our Featured Play Spotlight. Love Rebootilization? Now you can enjoy Rebootilization: Competition Version by Alan Haehnel with your group! Stories are disappearing in a worldwide pandemic, and SynCryn’s “foolproof” Rebootilization process is here to save the day—or not. With glitches, tech-addicted directors, and thawing stories, chaos ensues! Perfect for middle school with a range of speaking roles, this new competition version is packed with humor and excitement. Let's hear from the author! 1. Why did you write this play?Originally, I wrote Rebootilization as a full-length commissioned piece for a school that typically involved something like 80 kids in their productions. Quite a task, coming up with a show to accommodate so many. After I wrote the show, the school produced it successfully, and then Theatrefolk published it, I got a couple of requests over the years to trim it to a one-act. I liked the idea since the 80-kid cast was a bit daunting for most programs, but I never got around to trimming it until Lindsay from Theatrefolk contacted me a few months ago and proposed coming up with a 30-minute version of the play for competitions. This time the idea stuck and the shortened version was born. 2. Describe the theme in one or two sentences?As a retired English teacher, I wonder a bit about the term “theme.” That, to me, means the universal lesson underlying the play. For a silly comedy like Rebootilization, that’s a tough ask. The major topic or conflict of the play is technology versus tradition. Mainly, though, it’s a fun way to riff on this “what if”: What if some government agency had all the original story characters frozen and hidden somewhere, and their stash was getting corrupted? 3. What's the most important visual for you in this play?The chaotic scene near the end where all these various traditional story characters have unfrozen and are about to engage in a riot. 4. If you could give one piece of advice for those producing the play, what would it be?Have the actors get off-book early so they can have plenty of time to play around with creative and very active blocking. 5. Why is this play great for student performers?Even though it’s trimmed down significantly from the original 80+ character version, it’s still got so many parts, so many fun costumes, so much action! 6. Who is your favourite character in the play?I really get a kick out of the no-nonsense version of Little Red Riding Hood. She’s very assertive (maybe even bossy?), but I love her. 7. What is your favourite line in the play?There are many lines I enjoy, but I think the right actor could have a lot of fun with Red Riding Hood’s pronouncement: “All right, I’ve had about a gallon of milk and a half dozen stale cookies so I’m feeling bloated and pretty darned impatient!”

A house manager speech is a short spiel presented prior to a theatrical performance, where the audience is welcomed and given some last minute information about the show and/or some basic theatre etiquette reminders, such as the duration of the show, where the restrooms are, and most importantly, to turn off your cell phones. It is fairly typical for the speech to be given by the director — as in, you! — or a member of the front of house team (the house manager or an usher). What information should be shared in the house manager’s speech? Here are the most common speaking points: • A brief welcome and thank you for attending the production. • “Welcome, and thank you for attending Central Secondary School’s production of Football Romeo by Lindsay Price.” • The length of the play and whether there is an intermission. • “The show is 2 hours long with one 15-minute intermission” or “The show runs 75 minutes and is performed without an intermission.” • Whether or not food or drinks may be consumed during the performance (and oftentimes reminders to unwrap candies or cough drops now). • Whether or not photography or video recording is permitted during the performance. If it is allowed, it is best practice to turn camera flashes off to avoid startling or blinding the students onstage. • A reminder to turn off cell phones and any other electronic devices. • Any safety reminders or directions, such as how to leave the theatre, or if there will be special effects (such as a strobe/flashing light or loud, startling sounds) that may affect the audience’s experience. • “If you need to leave the theatre, please use the exits in the rear of the auditorium. An usher will escort you back to your seat at an appropriate time in the performance.” “This production features gunshot sounds and strobe lights which may affect some audience members.” • Any content/trigger warnings — violence/stage combat, strong language, sensitive subject matter, etc. Adjust as necessary for your school’s community and intended audience. Please note that the duration of the show, safety reminders, and content/trigger warnings should also be communicated many times before the patrons arrive at the show, and in many different ways, such as on the show and ticketing websites, in social media posts, on signage outside the theatre, and reiterated by ushers as they take tickets, hand out programs, and/or direct audience members to their seats. Audience members should be aware of the show they’re going into before they arrive at the performance, so they can make an educated decision on whether they wish to attend. The best house manager speeches are brief, concise, and attention getting; the information is conveyed in a way that makes audience members follow the instructions, and then the show starts promptly. Sometimes though, the director gets a little emotional and starts waxing poetic about the process and hard work that has gone into the show, the speech gets longer and more drawn out, and the audience is left waiting impatiently for the performance to start. So to avoid holding your audiences hostage, read on for some helpful tips to improve your house manager speeches. First, do you need a house manager speech at all? Some plays or musicals, such as The SpongeBob Musical, have pre-show patter written into the show. If you’re giving an additional house manager speech on top of that, you’re just wasting time. Can the information be conveyed in another way? For example, could you post signage outside of the theatre, write a blurb in the show program, or have ushers verbally share the information with patrons as they’re taking tickets or directing people to their seats? If you still feel you need a speech, please keep it succinct. The plot of the show, the inspiration behind why you chose it, anecdotes about the rehearsal process, and special thanks can be shared in a director’s note in the program, on your school’s website or social media pages, or posted on signs around the theatre. We have to keep our egos in check and remember that when it comes down to it, the audience is there to see the students perform, not to hear us talk. Share only the most important information that absolutely needs to be conveyed. When possible, have students present the speech. You could have a student house manager or usher present the speech as part of their front of house duties. Or, you could have a member of the acting ensemble present the house manager speech. It’s great if you can pick a student with a smaller role or who has fewer lines in the show, as it gives them more to do. You could also split up the speech and have two or more students present it as a pair or trio, such as a small group of graduating seniors. Decide whether the speech will be presented live or pre-recorded. If the speech is presented live, you’ll need to add a lighting cue for the presenter and may require an additional microphone; if the speech will be pre-recorded, you’ll need to arrange time to record the speech and add it to your sound cue list. Finally, decide whether the speech will be standard/traditional or themed/in-character. There’s nothing wrong with a clear, straightforward speech with simple instructions. It’s easy to understand and does the job. But it can also be a lot of fun to have the speech presented in-character or in the theme or style of the show. Think Shreds and Patches in Shakespearean verse (or even iambic pentameter), or Rebootilization introduced by the SynCryn technicians. Themed house manager speeches grab audience members’ attention and get them into the theatrical mindset right away. Plus, they’re fun! No matter how you choose to present your house manager speech, just remember to keep it short, informative, and attention-grabbing — and then get on with the show!

Welcome to our Featured Play Spotlight. ** The middle school comedy, Rebootilization by Alan Haehnel, is a full length extravaganza with parts for everyone – and we mean **everyone. Stories all over the world are under attack. Pages are going blank in a pandemic so big, the government’s involved. That’s where SynCryn comes in. Not an ordinary lab, SynCryn has the original narrative DNA for every story on ice and a plan to save the world from story obliteration. It’s an easy rebootilization process… so long as there aren’t any glitches in the software, or the director doesn’t go crazy, or the stories thaw out too quickly, or pirates get loose. If none of those things happen, it’s foolproof. Why did we publish this play? This play is an amazing feat of casting. You can fit every middle school student on your stage and give them a part. It’s also amazing with its take on the genre. We normally shy away from anything fairy tale associated but this play is so unique, it demands to be shared. Alan tackles the age old question: do stories matter? But that’s not all that’s going on here: youth vs age, technology vs tradition, past vs present. These are delightful discussion starters and this is a delightful piece of theatre. Let’s hear from the author!1. Why did you write this play? This was actually a commissioned play. I wrote it for the Overland Trail Middle School in Overland Park, Kansas. I had written a much shorter, small-cast treatment of this idea before. When I did, I thought how much I liked the concept, so I welcomed the chance to expand the idea in Rebootilization. Plus, I love the juxtaposition of the old stories with new technology. 2. Describe the theme in one or two sentences. No matter how much technology may influence our lives, we must remember the crucial influence of the old stories in our culture. 3. What’s the most important visual for you in this play? The chaotic scene when everything is going wrong. If the director and the cast can pull off this confluence of noise, characters, set, and action in a successful way, in a way that seems like artful disaster, then I have confidence that every other element of the play will be handled well. 4. If you could give one piece of advice for those producing the play, what would it be? Pace, pace, pace! Keep it snappy! 5. Why is this play great for student performers? Opportunity. This show would typically be performed with a lot of doubling of characters, so the chances to get be busy both on- and off-stage are numerous.

Time for a Tfolk Top Ten Plays For…Large Casts! Maybe your policy is to give a part to everyone who auditions. Or maybe your drama club is bursting with students. Either way, you need plays with a lot of characters. And not just characters who stand in the background holding up the scenery. Click the link and you’ll be taken to the webpage for each play. There you’ll get the details and read sample pages. All the best with your search! The Pauper Princess Cast size: 10M+28W+34 Either A twist on The Price and the Pauper with two girls in the lead roles and Elizabethan England as the location. The Princess is Princess Elizabeth and the Pauper is a girl hiding as a boy in a location theatre production. A huge cast with roles for everyone who tries out. Rebootilization Cast size: 13M+15W+25 Either, Expandable to 85+ Stories all over the world are under attack. Pages are going blank in a pandemic so big, the government’s involved. SynCryn has the original narrative DNA for every story and it’s an easy reboot process, so long as…. nothing goes wrong. Parts for everyone. The Absolutely Insidious and Terrifying Truth About Cat Hair Cast size: 8 Either, Plus ensemble of 8-100 A hilarious piece with an insanely large cast. How will you theatricalize cat hair that is plotting the downfall of humanity even as we speak? Personification at its best. Circus Olympus Cast size: 6M+9W, expandable to 12 M+20W A gleeful celebration of greek myth with excellent large cast expansion and parts for all abilities. Circus elements are optional and are suggested for each myth. Being Bianca: The Semi Complete Guide Cast size: 2M+10W+38 Either When told she should engage in volunteer work, Bianca decides on a great service to mankind: She will teach us all how to “Be Bianca.” (the semi-complete guide). Every life step is Bianca-ized! It may not be the best idea, but it is the most entertaining. The Myths at the End of the World Cast size: 2M+3W+2 Either, Expandable to 30 Four campers are not only lost in the wood, they are lost at the edge of the world with no land, water, stars or sun. The only thing to do is to release stories from around the world and from the wind. Excellent opportunities for mask and movement. A unique cross- curricular storytelling adventure. The Art of Rejection Cast size: The Art of Rejection 1M +1W+14 Either, Chaired 13 Either Two plays that look at being alone – whether it’s the only letter in a sea of numbers, or alone in making the right decision to sit or stand. A combination of humanity and the avant-garde the two together make for a great competition piece. The Canterbury Tales Cast size: 4M+4W, Easily Expandable to 16+19W Chaucer’s classic collection of tales comes to life in a full-length adaptation. Great characters, lots of humour, and strong ensemble work. Text uses modern English. Cobweb Dreams Cast size: 2M+17W+7 Either Cobweb Dreams is a fun-filled fantasy that runs parallel to the events of Shakespeare’s A Midsummer Night’s Dream. Cobweb is not having fun in Titania’s train. She dreams of a life where she plays pranks all day long and doesn’t have to be a stuffy, stuck-up fairy in waiting. Oh will this midsummer night never end? The Snow Queen Cast size: M+20W+31 Either A magical theatrical adaptation of Hans Christian Andersen’s tale of a sister’s love, an ice cold heart, and a fantastical journey. It’s the original Snow Queen story brought to life.

Some drama teachers have their whole production year figured out before the first day of school. If you’re doing a big musical, you need to get that paperwork started way in advance. Or maybe you need to coordinate using the theatre space with other departments – you need to know what you’re doing and when. Or, if you’re lucky, you have an engaged drama club and they’re reading the plays and deciding what they want to do ahead of time. But sometimes all that planning goes out the window. You choose a play, hold auditions and the actors you think you’re going to have don’t show up. Or you choose a small cast play and are faced with a flood of wonderful auditions. And sometimes, just the act of choosing a play is the issue. It can be an overwhelming and frustrating experience. Auditions loom and you still haven’t chosen a script. If you’ve stared at a stack of play catalogues with panic in your eyes, we here at Theatrefolk are ready to come to the rescue! Ok. We’re not a superhero. But we can give you some guidance to what we have available and how you can swiftly navigate our catalogue. If you’re frustrated with your search, or if you have to make a last minute decision NOW, have a look at the following plays. With each play there’s a link to the website page where you can read free sample pages. Enjoy! Top SellersWant something popular? Try these! Hoodie by Lindsay Price Hands down, our most popular one act. Hoodie is a middle school play about self image and appearance. Great for classes, and the kind of play that lets you cast every kid who auditions.

Choosing one act plays for middle school is not an easy task. The students are at a very in-between point in their lives. They no longer want to be seen of as “kids” yet many are not quite ready to tackle heavier issues. Play selection is a total “your mileage may vary” situation. It depends on each specific set of kids. Some will be content with fairy tales while others will want intense make-’em-cry dramas. Here is a direct link to all of our one act plays for middle schools. I reached out on our Facebook page for some feedback from middle school teachers: “What are the major factors you need to consider when selecting a one act play for your middle school?” Here are some of the more representative responses we got. “Large cast size (25-35) for my classes, appropriate for their age, doesn’t focus on typical angst of the MS student, it needs to be mostly funny (they’ll get enough serious stuff at the HS level), and I LOVE vignettes which allow me to cast many kids in roles The Snow Show ~ Jessica Landry Stafford “It has to have a message. My students don’t like fluff. They want something to sink their teeth into. It also has to have a good ending. I have found most one act plays just drop off and don’t have strong endings.” ~Leslie McKibben “Cast size over 20. Smart script. Age/audience appropriate but not talking down to teenagers. Would love to see more stories that weren’t necessarily anchored in school angst.” ~Aidan O’Hara “A play “the cast and crew will care about.” Most middle schoolers are not yet such experienced theatremakers that they’ll enjoy doing any show for any reason–the story needs to engage them pretty quickly for them to commit to the process.” ~Becky Schlomann “I always think about the talent that I have available at the school and choose a show that will make all their talents shine. I want to pick a show that will both challenge the students, but also engage them and nurture their love for theatre.” ~Bethany Kennedy “No more mangling of fairy tales or Shakespeare! Something that they can sink their teeth into without being angsty. Heavier on girls. Boy roles where they don’t have to be ‘manly.’” ~Amy Medina “Opportunity, creative challenges, meaningful and accessible character development. LOVED Tick Talk for middle schoolers in particular, BTW.” ~Jessica Shulman McGettrick As you can see, the answers are wide and varied. There’s no magic bullet. There’s no “one size fits all” play for a middle school group. Choosing a one act play for middle schools depends heavily on the group of kids that you have at the time. Here are some of the main factors brought up by our Facebook fans. AppropriatenessAppropriate is in the eye of the beholder. It would be impossible to say what’s “appropriate” because standards vary. Our customers request plays that run the gamut between requests to remove all references to dating from a play (a play that doesn’t show a date, it just uses the world) to our most challenging plays, some of which aren’t even on our recommended list of plays for middle schools. Cast sizeThis one was almost universal. A large cast size is important. This is particularly tough in a one act play format. Writing a play that has a lot of characters isn’t challenging, but it is challenging to develop them all, to give them individual traits so the actors feel like they can contribute as individuals to the production. Some of our one act plays that achieve this nicely are: • Funhouse – a bullying play with a cast of 20 • The Absolutely Insidious and Utterly Terrifying Truth About Cat Hair – A fun play with a long title and a huge cast. • Shuddersome: Tales of Poe – A very large cast adaptation of Poe’s most theatrical stories • Lord of the Pies – a delicious parody of Lord of the Flies Students Can Relate to ItThe plays we publish and promote for middle schools tend to have the majority of characters of student age (except in the case of literary adaptations). It’s important that the characters and the situations they find themselves in are realistic and relatable. Not necessarily how adults see the middle school student, but how they see themselves. The Play Stretches the PerformersIt’s important that the play stretch them as performers. But “stretch” doesn’t have to mean “a different age, like grandparents” In the professional world, for example, I’ve always played roles that fit my age and every experience I’ve had has stretched me as a performer. A meek student can be stretched by playing a bully. A straightlaced student can be stretched by playing a troubled kid. Typecasting is lovely and it makes casting easy, but if you’re looking to stretch kids then it’s important to cast against type sometimes. At the end of the day the most important thing in educational theatre is the students’ learning experience. For example, our middle school play The Happiness Shop looks at the issue of Middle School Depression. This is a serious topic and allows middle school students to tackle a big issue in a theatrical manner. The Fractured Fairytale DebateSome people on our Facebook post said they love fractured fairytales, others are sick of them. That’s what makes art so wonderful – there are plays to suit every taste. We don’t have any fractured fairytales but I don’t think there’s a single thing wrong with them besides the fact that it’s very easy to write a bad one. I’ve seen so many come through our submission process that just aren’t theatrical. They are just re-worded versions of fairytales – parodies or spoofs. They are funny on the page and that’s probably the medium they belong in. The best way to tell if a script is theatrical or not is to ask yourself these questions: How will staging this play (bringing it to life) differ than just reading it? What parts of the script would be enhanced by live performers? Can you visualize the script in action when you read it? Do you see people moving? Are there moments that will affect the audience? If you struggle to answer these questions then there’s probably not much theatre written into the play. I have no doubt that we’ll publish a fractured fairytale at some point but when we do it will also work as an engaging piece of theatre. Here are a couple of examples of **adaptations/parodies that work as theatre:** • Drop Dead, Juliet! – Juliet tries to change her inevitable death at the end of the play and engages in a battle of wills with William Shakespeare. • Circus Olympus – A collection of Greek myths come to life. The script encourages liberal use of circus skills – what’s more theatrical than a Greek myth & circus mashup? • Rebootililzation – Not a one act, but this clever play incorporates a ton of fairtytale and literature based characters. More Girls than BoysThis is a purely logistical issue. More girls audition for middle school shows than boys. Pretty much all of our plays have more girls than boys for this very reason. We also try our best to get some gender-neutral characters in there for casting flexibility. Bradley Hayward’s Apostrophe’s and Sixteen in Ten Minutes or Less are both fantastic choices for flexible casting. Simple StagingIn our experience, the middle school budget is limited. The middle school play is more about putting as many students on stage, rather than having the most elaborate staging. We got you there, too. We always aim for scripts that are easy to stage. Our running joke is that most of our plays can be staged with two chairs and a cube and if you’re really pressed for budget, then one of the chairs could be cut. Personal TasteBecky Schlomann had this to say about what kinds of plays she looks for: “Something I personally like. I’m going to be spending more time with the script than anybody, and if at the beginning of the process I hate it, by the end of the process I’ll be ready to poke my eyes out.” This is the main reason that every play on our website comes with an extensive free excerpt. That way there are no surprises when you order a play for production, and you don’t have to order a dozen perusal scripts based on a catalogue blurb only to end up disappointed that none of them appeal to you. There are a lot of one act plays for middle schools on our website. If that overwhelms you, feel free to email us or use our live chat through this page. Tell us your likes, dislikes, cast size, and the age of your group. We’re always happy to send recommendations your way.

Episode 4: Don’t Talk *BLEEP*This week we’re talking about something that everyone does, doesn’t matter if you’re a writer, an actor, or dancer. And that’s talking *bleep* about your work. Accountants don’t talk crap about their work, why do artists? And why do we think that calling our work crap is a sign of humility?