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Easy-to-Use Middle School Drama Lessons: Volume 1

June 25, 2025 By dhcbaldwin Leave a Comment

middle school students working together on a drama class project by Dramamommaspeaks

Easy-to-Use Middle School Drama Lessons: Volume 1

My second year of teaching
School photo of my second year of teaching

Today, let’s talk about easy-to-use middle school drama lessons, volume 1, shall we? I bet you’d agree with me–teachers are conscientious people. We are like a dog with a bone–we just don’t give up.  When I began teaching, my first three years of teaching (English) were exhausting and challenging.  In fact, I had never student taught the subject.  Plus, I was on my own  trying to understand the scope and sequence pacing.

Back then, we did not have mentor teachers. A nice, equally young teacher  gave me a huge tome complete with English department standards with outcomes expected by grade level.  It was filled with jargon which I had to translate into laymen terms before I could even consider teaching them! Talk about overwhelm. However, I never gave up and learned tons from teaching English for those three years.

From Grad School to the Classroom: What Really Works with Middle Schoolers

Time went by and I survived those first years of teaching.  Later, when I began teaching a pre-elective drama class for middle schoolers, I had just finished my M.Ed. in Creative Arts Learning. It was perfect timing—I ended up using so many of those teaching methods in the classroom right away.

What I learned over many years is that middle school students need variety and short bursts of learning.  Of course, it’s good if it’s fun, too.  (Trust me, here.  My students and I laugh a lot in a class period.) Looking for a play to direct? Check out: 8 Middle School Plays That Work Every Time

My lessons generally followed this pattern:

  • warm up (15 mins.)
  • teacher lesson (10 to 20 mins.)
  • student application (15 mins.)
  • cool down, exit slip, etc. (5-10 mins.)

What’s Inside Volume 1?

Easy-to-Use Middle School Drama Lessons: Volume 1

Even though this was a pass/fail class, I had the opportunity to teach as much or as little theater information as I liked. The principal left it up to me which was gratifying to way the least.   Also, I taught them the rudimentary concepts of stage geography, stage positions, blocking positions, acting positions, and movement. Most youth theater and school theater programs focus on the actor.  I knew that the concepts of stage orientation would be needed no matter what program or class they enrolled in next time.

Hooked from the Start: Building Excitement and Ownership in Drama Class

Additionally, students learned about the origin of theater (did it begin through myth or ritual?).  We had  lively debates discussing their opinions.  By establishing the class with this resource, a teacher can put their students in the driver’s seat right off the bat.  They learn that their opinions count!

Always I kept it in mind that I wanted my students to enroll in another drama class after mine.  Most importantly, I wanted them to leave my class so in love with theater arts they couldn’t wait to learn more about it.

Easy-to-Use Middle School Drama Lessons: Volume 1

Why Teachers Love It

It is not out of the ordinary for me to receive a positive review.  I’m thrilled that I helped a teacher! 

“My students loved this unit for my theater class.  I have always struggled on how to teach set deisng in this class and your presesntation took me step by step through the procerss! Plus, I was able to modify it for my Behavior Theater class who loved the hands on aspects of this unit. ”

“Thank you for the teacher’s script and details. YOu could easily print and use this in your classroom immediately. SO MUCH DETAILS and SO MANY OPTIONS! I can use it all or in pieces as time allows. Thank you.”

My Favorite Lessons in the Volume

Easy-to-Use Middle School Drama Lessons: Volume 1

One of my favorite units to teach is set design.  Students enjoy it because it’s concrete.  It’s not that scary acting/ emotion stuff! Plus, I focus on fairy tales as the theme.  When I first began teaching this unit, fairy tales hadn’t become as popular as they are at present.  In fact, some students weren’t even familiar with the story of The Three Little Pigs!

However, now that fairy tales are popular in television and film, students nearly jump at the opportunity to create their own set for whatever fairy tale story they choose. The unit includes titles such as Cinderella, Little Red Riding Hood or Jack and the Beanstalk.

Storytelling Japan Student Created Pictures Drama Lesson Kamishibai Drawing

In addition, I enjoy teaching about Kamishibai Storytelling.  If you are unfamiliar with Kamishibai, you’ll enjoy how well it works in the classroom.  Got shy students?  You can encourage to break out of their shell through this unit.  First, you’ll put your students into teams of two to create their stories. They draw their story and finally they perform them in tandem.  Talk about win-win!

How to Use It Throughout the Year

Easy-to-Use Middle School Drama Lessons: Volume 1

Have you picked up a copy of my Scope and Sequence resource of drama lessons?  It’s free to you and will give you a comprehensive and organized plan.  You can find it here: Scope and Sequence, Vol. 1.

When you pick up the scope and sequence guide, you’ll notice that I suggest beginning the learning with the basic components of theater.  They include tableaux, movement, sound effects, improvisation, movement, etc.  Furthermore, there is time for designing a set and costumes, too.  I’ve included everything a teacher may need from teacher’s scripts (so you know what to say) to procedures (with time stamps) to warm-up exercises, live video clip links and a rubric or two.

Drama Class Theater Curriculum Middle School Vol. 1 Acting Improvisation Plays

So, there you have it!  I hope you’ll grab Volume 1 here to take the guesswork out of teaching drama! Or…buy Volume 1 and 2 here: Bundle Volume 1 and 2 Middle School

Looking for more?  Check out my new book, We’re Live! Radio Theater #101–all about how to use radio theater to engage students in any classroom.

Easy-to-Use Middle School Drama Lessons: Volume 1

Got a question or request?  Just email me at DhcBaldwin@gmail.com.  I’d be happy to help you!

Woman behind DramaMommaSpeaks

P.S.  If you all ready own these, check out volume 3!  It’s brand new:  BUNDLE MIDDLE SCHOOL CURRICULUM VOLUME 3

Click here:  We’re Live! Radio Theater #101

 

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Filed Under: acting, arts education, arts integration, Back to School, creative dramatics, creative movement, drama education, drama integration, Education, Education, excellence in teaching, gifted and talented, performing arts, readers theater, set design, storytelling, Teacherspayteachers, teaching strategies, youth theatre Tagged With: 'tweens, arts integration, costume design, creative dramatics, drama education, drama lessons, drama units, Kamishibai Storytelling, Middle school, radio theater, set design

Boost Drama Class with These 5 Teacher Favorites

June 9, 2025 By dhcbaldwin Leave a Comment

A wooden figure leaning up against a stack of books

Boost Drama Class with These 5 Teacher Favorites

To begin with, as theater teachers, we often face a familiar set of challenges: limited prep time and diverse student needs. Plus, these are coupled  with th desire to build a strong classroom community while still hitting learning goals. How can we do that? What resources will it require?  Let’s discuss how to boost drama class with these five teacher favorites!  Whether you’re just starting out or looking to refresh your curriculum, the right resource can make all the difference.

Over time, I’ve created and refined dozens of drama education materials that aim to solve these challenges. These aren’t just popular—they’ve been tested by real teachers and praised for how well they support classroom success. (Proof of Concept?  To date, over 23,000 teachers have purchased from my Dramamommaspeaks store.)

Boost Drama Class with These 5 Teacher Favorites

Boost Drama Class with These 5 Teacher Favorites

1. Drama Ice Breakers and Ensemble Builders

Why it helps:
A strong ensemble is the heartbeat of any theater classroom. These ice breakers and team-building games are more than just “fun activities”.  They teach students how to collaborate, listen actively, and take creative risks in a low-pressure environment. I’ve used these same  for questions for years to help my students become confident and connected performers.

What’s included:

  • Engaging warm-ups for all experience levels
  • Games that promote trust and communication
  • Easy-to-follow instructions for quick implementation

As a result, this is a teacher favorite because:
They save you time and get your students up and moving—essential in the first few weeks of school.

One reviewer wrote, “These helped my students open up immediately and created a supportive classroom culture.”

Boost Drama Class with These 5 Teacher Favorites

Boost Drama Class with These 5 Teacher Favorites

Daily Drama That Delivers: Engage Every Student, Every Day

2. Morning Meeting Bell Ringers: Tony Award-Winning Plays

Why it helps:
These 24 bell ringers bring Broadway into your classroom through bite-sized lessons that celebrate Tony award-winning plays. Each includes a brief synopsis, the awards it won, and a thoughtful question to encourage discussion or journal writing. In addition, they’re great for daily warm-ups or as part of a broader curriculum on theater history.

What’s included:

  • 24 ready-to-use slides
  • Tony-winning play summaries and awards
  • Video clip links for reference
  • Critical thinking questions to prompt student reflection

Teacher favorite because:
They introduce important theatrical works without adding to your prep load. Consequently, students get exposed to a wide range of plays, and teachers love the simplicity and depth. “These were a great way to start my class and got my students talking about theater right away,” one educator said.

Boost Drama Class with These 5 Teacher Favorites

3. Radio Theater Unit

Why it helps:
This unit taps into the often-overlooked world of radio drama.  It is ideal for classrooms with limited space or performance anxiety. Students learn about sound effects, vocal inflection, and character development. Lastly, they create and perform their own radio commercials. Pick up one of my radio play scripts and you’ve got three weeks of learning!

What’s included:

  • A full unit guide with daily procedures for 12 days
  • Warm-ups and vocal exercises
  • Radio play scripts and sound design activities

Altogether, this is a teacher favorite because:
It combines performance, technical design, and storytelling into one seamless unit. One teacher shared, “My class LOVED this! It allowed even shy students to shine and brought a new energy to our drama time.”

Boost Drama Class with These 5 Teacher Favorites

Connect with Culture and Creativity

4. The Story of Lin-Manuel Miranda: Read-Aloud Biography Unit

Why it helps:
Students are always more engaged when they can relate to the subject. This biography of Lin-Manuel Miranda—complete with prompts and journaling ideas—makes for a great literacy integration!  Plus, it’a super jumping-off point for conversations about creativity, diversity, and perseverance. 

What’s included:

  • A read-aloud biography concerning his life, education, journey to Broadway and accolades he’s won
  • Student discussion questions
  • Journal writing prompts for reflection and connection

Teacher favorite because:
It inspires students with a story they care about while encouraging thoughtful writing. Additionally, teachers often use this during Hispanic Heritage Month, literacy blocks, or between units. One teacher remarked, “My students really enjoyed this lesson. The resources were great and they loved putting together the rap!”

Check out this blog post for other famous Broadway actor biographies: Teaching Stage Legends: Burnett, Andrews, Jones, and Van Dyke

Boost Drama Class with These 5 Teacher Favorites

5. Costume Design for Beginners

Why it helps: Costume design is a fantastic entry point into technical theater.  Furthermore, it helps students think critically about character, mood, and time period. This beginner-friendly unit introduces students to the basics of costume design through research, drawing, and hands-on activities.

What’s included:

  • Introduction to costume design principles
  • Guided drawing and analysis assignments
  • Creative prompts for designing original character costumes

Teacher favorite because: It taps into visual learning and creativity while supporting script analysis and design thinking. One teacher noted, “This was a perfect way to engage students who love art and fashion while still connecting back to theater concepts.”

Pick up a FREE holiday parade costume design lesson here:

In Conclusion

Lastly,  you’re looking for materials that are trusted, easy to implement, and designed with teachers in mind, give these a try. Check out this post for additional resources which can help you:  5 Easy Drama Games for Emergency Sub Plans

Have a favorite you’d like me to feature next? Drop me a message—I love hearing how these resources work in your classroom. Also, I’m so pleased to announce that my blog is one of the top 5 for drama teachers in the world. 

Learn more here:

This may contain: the top drama teacher blog badge with gold stars on it and text reading top drama teacher blog

Deborah Baldwin of Dramamommaspeaks
When I portrayed MIss Prism in The Importance of Being Earnest

Deb

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Filed Under: acting, arts education, arts integration, drama education, drama integration, Education, Education, English Language Learners, excellence in teaching, Free Products, gifted and talented, High School, middle grades, Radio Theatre, Teacherspayteachers, Teaching, teaching strategies, theater, theatre, Tony Awards, youth theatre Tagged With: ice reaker exercises, Lin Manuel Miranda, morning meeting Tony awards, radio theater, teaching tools introduction to costume design

Theater Books Every Drama Teacher Should Own

May 8, 2025 By dhcbaldwin Leave a Comment

A puppy with reading glasses perched on his nose as if he is reading the theater book before him.

Theater Books Every Drama Teacher Should Know

From time to time, I read of teachers having  funds left nearing the end of the year.  They are frantically trying to spend any left over funds in their budget.  If you aren’t familiar with this kind of fervor.   Please know this–many times if a teacher does not use up their budget, it is given to someone else! And we don’t want that to happen, now do we?

Usually, I suggest items such as rehearsal boxes, makeup kits, a light tree, etc.  But today I’m blogging only about books I recommend you collect for your teaching library.  Here is a list of my ” Theater Books Every Drama Teacher Should Own”.

When I began teaching like a hundred years ago, there weren’t too many resources from which to teach.  Of course, we had play anthologies, but nothing much for the day-to-day class.  No one had ventured into teaching young students yet.  I mean, this was 1980!  If you’d like more information about that journey, check out: How to Make Your Drama Class Successful-Lessons Learned from 38 Years of Teaching High School.

Now you can find many books focusing on particular grade levels.  I’ve included several for each grade level here.

Theater Books Every Drama Teacher Should Own

Theater Books Every Drama Teacher Should Own

 Theater Games for the Classroom by Viola Spolin–This theater book is absolutely essential for you (and a personal favorite of mine), especially if you are teaching elementary or middle school students.  This best-selling book by Viola Spolin offers the most comprehensive theater instruction for all types of students, from small children to young adults. It includes over 130 theater games, plus exercises and instructional strategies. First developed by Spolin, the originator of modern improvisational theater techniques, these games have been tried and tested for over fifty years. I’ll tell you a secret–most of the books that are published about warm up games and exercises used this one as a stepping off point for theirs!  In other words, go to the original source.

Theater Books Every Drama Teacher Should Own

2. Multicultural Plays for Children Volume 2 by Pamela Gerke–When I taught middle school students a pre-elective course, I used several plays from this theater book collection. These excellent dramatic adaptations of 10 folktales from various countries and cultures will help fill that void. Most importantly I think each play is based on a story from the oral tradition that has retained.  Consequently through many alterations across time, these plays share a core of truth about human nature and life.

Furthermore, this book includes a substantial introductory section that addresses many concerns: adapting a play for various cast sizes; changing gender, setting, and length; vocal-projection exercises and theater games; plus many useful suggestions for production.

Also, each play has detailed directions for creating sets, props, costumes.  In addition, it includes a realistic timetable for rehearsals and other production needs, and a pronunciation guide. Talk about really helpful for a teacher!  Music is included, as is extensive information about some cultures that will extend and enrich the experience for children. Included:  The Comedy of Errors, Hamlet, Macbeth, The Merchant of Venice, Othello, Romeo and Julie, and The Tempest, etc. 

Theater Books Every Drama Teacher Should Own

Inspire Movement Through Story and Song

3. Lesson Plans for Creative Dance: Connecting with Literature, Arts and Music by Sally Carline–Children love to express themselves through movement—and with this great new resource, you can guide them through a range of actions and dances that will help them develop both physically and mentally. This theater book is a resource for physical educators, classroom teachers, and dance specialists as well as a useful supplement to college level elementary education courses.
Additionally, author Sally Carline has tested and refined the creative movement activities that she has prepared for educators and for preservice teachers. She includes background material that will ground you in understanding how to best teach and incorporate movement activities in a variety of classes and settings. Check out this blog post for more information: Creative Movement: Elementary and Middle School Teachers – Ready to Move?
Beautiful Stories from Shakespeare for Children

  4.Beautiful Stories for Children by Edith Nesbit -When I taught an introduction to Shakespeare course, I used this theater book with  middle schoolers.  We read the stories, minus Shakespeare’s play versions. William Shakespeare is arguably the most pivotal and widely read figure in the history of English literature. This comprehensive collection highlights some of the bard’s best works. Plus, they have been adapted to be more easily read and digestible for children.

Included are the stories of A Midsummer Night’s Dream, The Tempest, As You Like It, The Winter’s Tale, King Lear, Twelfth Night, Much Ado About Nothing, Romeo and Juliet, Pericles, Hamlet, Cymbeline and Macbeth. Also, included are the stories of The Comedy of Errors, The Merchant of Venice, Timon of Athens, Othello, The Taming of the Shrew, Measure for Measure, Two Gentlemen of Verona, All’s Well That Ends Well.

Theater Books Every Drama Teacher Should Own

Acting from the Inside Out: Tools for Voice, Body, and Imagination

5. Building a Character–Building a Character by Constantin Stanislavski is one of the three volumes that make up Stanislavski’s The Acting Trilogy. An Actor Prepares explores the inner preparation an actor must undergo in order to explore a role to the full. In this volume, Sir John Gielgud said, this great director “found time to explain a thousand things that have always troubled actors and fascinated students.”

Building a Character discusses the external techniques of acting: the use of the body, movement, diction, singing, expression, and control. Plus, it describes the preparation that precedes actual performance. This theater book includes extensive discussions of Gogol’s The Inspector General and Shakespeare’s Othello. Lastly, Sir Paul Scofield called Creating a Role “immeasurably important” for the actor.

Additionally, If you are ready to teach Stanislavski’s methods, check out: Theater of Acting Unit The Konstantin Stanislavski Acting Styles Method Memory

Theater Books Every Drama Teacher Should Own

 

6.  We’re Live! Radio Theater #101 by Deborah Baldwin–Written by me, this theater book is the ultimate resource for drama teachers looking to introduce students to the exciting world of radio theater. Designed for grades 2–12, this book walks educators through the process of creating, rehearsing, and performing radio plays. And with no costumes or sets required!  Inside, you’ll find student-friendly scripts, production tips, voice acting techniques, and simple sound effect ideas that bring stories to life using only imagination and sound.

Whether you’re tight on time, space, or resources, We’re Live! offers a creative and flexible way to engage students in storytelling, collaboration, and performance. It’s perfect for in-class use, distance learning, or even podcast projects. Lastly, my book guides and empowers teachers to step into the role of radio director and help students shine—mic in hand and voices ready!

7. Curtains Up! Theatre Games and Storytelling by Robert Rubinstein– If you teach students in upper elementary and middle school, this would be one of the first books I’d suggest to you.  I learned about it at a MSTA convention (sponsored by Educational Theatre Association) many years ago. Theatre games help to develop students’ skills in storytelling, improvisation, and public speaking. They also build confidence, teamwork, and vocabulary. This is a collection of theatre games which have been classroom tested. Try the collaborative and fun activity “The Monster with Three Heads.” Pick up a copy of this exercise here: Three Headed Monster. I guarantee you, your students will love it!

Looking for free lessons?  Check out: Free Stuff!

What theater books would you suggest to a theater teacher?  I’d love to include it in a blog post planned for the near future.  Just contact me at DhcBaldwin@gmail.com

Click here:  We’re Live! Radio Theater #101

Woman behind DramaMommaSpeaks

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Filed Under: acting, arts education, Broadway, creative movement, drama education, drama integration, excellence in teaching, gifted and talented, High School, middle grades, performing arts, Radio Theatre, Teacherspayteachers, Teaching, teaching strategies, theater, theatre, youth theatre Tagged With: acting skills, Constantin Stanislavski, creative movement, improvisation, multicultural plays, radio theater, theater games for the classroom, Viola Spolin

Women Who Shaped Theater: Sarah Bernhardt to Audra McDonald

March 15, 2025 By dhcbaldwin Leave a Comment

Pink roses in the background with photos of actresses Sarah Bernhardt and Audra McDonald

Women Who Shaped Theater: Sarah Bernhardt to Audra McDonald

Theater has long been a space for storytelling, creativity, and performance. Yet, for much of history, women struggled to claim their rightful place on stage and behind the scenes. Despite these challenges, countless women have shaped the theatrical world, pushing boundaries and redefining the art form. In this post, we’ll explore the women who shaped theater: Sarah Bernhardt to Audra McDonald.

As a woman myself, I am always aware of women’s contribution to theater. In particular, I want to focus not only Sara and Audra, but also Lorraine Hansberry, Ethel Merman, Julie Taymor, Rita Moreno and Sarah Bareilles. Each of these trailblazers changed the industry in profound ways, leaving a lasting impact on performers, playwrights, and audiences alike. If you’d like to learn about other theater artists, check out: Teaching Stage Legends: Burnett, Andrews, Jones, and Van Dyke 

File:Sarah Bernhardt by Sarony cph.3a38656.jpg

Women Who Shaped Theater: Sarah Bernhardt to Audra McDonald

Sarah Bernhardt

My mother used to call me “Sarah Bernhardt” and at the rip age of twelve I didn’t know who she was.  I think in my mother’s own way, she was trying to tease me.  But now that I know about Ms. Bernhardt, I’m flattered! Before Broadway, before Hollywood, there was Sarah Bernhardt (1844–1923). A French actress renowned for her dramatic flair and commanding stage presence, Bernhardt became one of the world’s first global celebrities.

  • She was known as “The Divine Sarah” and performed in roles traditionally played by men, including Hamlet.
  • Bernhardt toured internationally, bringing high art to audiences around the world.
  • She defied expectations by continuing to perform even after losing her leg in her later years.
  •  Bernhardt originally planned to become a nun but instead enrolled in the Paris Conservatory when she was 16. However with the support and encouragement of her mother’s wealthy lover, her prolific theatrical career was ignited

Bernhardt’s daring choices and larger-than-life persona set the stage for future actors to embrace their individuality and take risks in their careers.

File:Ethel merman 1967.JPG

Ethel Merman: The Queen of Broadway

If you think of Broadway belters, one name comes to mind first: Ethel Merman (1908–1984). Known for her powerful voice and impeccable comedic timing, Merman became one of the most influential musical theater performers of all time.

  • She originated some of Broadway’s most famous roles, including Annie Oakley in Annie Get Your Gun and Reno Sweeney in Anything Goes.
  • Her strong, brassy voice set the standard for musical theater vocalists.
  • She worked with legendary composers like Cole Porter, George Gershwin, and Irving Berlin—many of whom wrote songs specifically for her.
  • She was a favorite of Cole Porter, who wrote Anything Goes and DuBarry Was a Lady specifically for her.

Merman proved that musical theater could be just as electrifying as a dramatic play, paving the way for powerhouse performers like Patti LuPone and Idina Menzel.

Lorraine Hansberry: A Playwright Who Changed History

While many women made their mark on stage, Lorraine Hansberry (1930–1965) changed theater history with her words. Her groundbreaking play A Raisin in the Sun (1959) was the first play written by a Black woman to be performed on Broadway. When teachers ask of a recommendation for someone to teach about during Black History month, I always suggest Lorraine Hansberry.

  • A Raisin in the Sun tackled themes of racial injustice, family struggles, and the pursuit of dreams, resonating with audiences of all backgrounds.
  • Hansberry was the first Black woman to win the New York Drama Critics’ Circle Award.
  • She used her platform to advocate for civil rights, influencing both the arts and activism.
  • Her close friend Nina Simone wrote the song “To Be Young, Gifted and Black” in Hansberry’s honor after her passing.

Hansberry’s work opened doors for future generations of playwrights, including Lynn Nottage, Suzan-Lori Parks, and Dominique Morisseau, whose works continue to challenge and inspire audiences today. Pick up a FREE biography lesson about Cynthia Erivo!

File:Julie Taymor 2 Shankbone 2009 Metropolitan Opera.jpg

Julie Taymor: A Visionary Director

Women have historically been underrepresented in directing and design, but Julie Taymor (b. 1952) shattered expectations with her revolutionary approach to theater.

  • She became the first woman to win a Tony Award for Best Direction of a Musical with The Lion King (1997).
  • She designed over 230 puppets for The Lion King, blending African and Asian theatrical traditions.
  • Taymor has directed not only on Broadway but also in opera and film, proving that theatrical storytelling transcends mediums.
  • In 1991, she received the MacArthur Fellowship, recognizing her innovative approach to theater.

In addition, her work paved the way for other female directors like Diane Paulus, Rachel Chavkin, and Liesl Tommy, showing that women can lead bold, visually stunning productions.

File:Audra McDonald (1).jpg

Audra McDonald: A Record-Breaking Star

No list of influential women in theater is complete without Audra McDonald (b. 1970). She is known for her astonishing vocal range and acting talent.  And get this:  McDonald has won more Tony Awards than any other performer—six and counting!

  • She is the only performer to win a Tony in all four acting categories (Best Actress and Featured Actress in both plays and musicals).
  • Her roles range from classic musicals (Carousel, Ragtime) to powerful dramas (Master Class, Lady Day at Emerson’s Bar & Grill).
  • First Black Woman to Play Mother Abbess in The Sound of Music Live! (2013) and Bess in Porgy and Bess on Broadway.
  • She has used her platform to advocate for diversity and inclusion in theater, supporting young artists and underserved communities.

McDonald continues to redefine what it means to be a Broadway star, inspiring new generations of performers to pursue excellence on their own terms.

File:Rita Moreno (78th Peabody Awards) 2 (cropped).jpg

Rita Moreno: A Trailblazing Triple Threat

It’s important to mention that women from many backgrounds and cultures blazed the trail for females. Few performers can match the versatility and longevity of Rita Moreno (b. 1931). One of the few EGOT (Emmy, Grammy, Oscar, and Tony) winners, Moreno has influenced generations of actors in both film and theater.

  • She made history as Anita in the 1961 film version of West Side Story, winning the Academy Award for Best Supporting Actress—the first Latina to do so.
  • On stage, she starred in Broadway productions such as The Ritz (for which she won a Tony) and The Odd Couple.
  • She appeared in both the 1961 and 2021 versions of West Side Story—winning an Oscar for playing Anita in the original and portraying Valentina in the remake.
  • Moreno has long been an advocate for Latinx representation in entertainment, paving the way for performers like Lin-Manuel Miranda and Daphne Rubin-Vega.

At 90+ years old, Moreno continues to perform, proving that great artistry knows no age.

File:Joni Mitchell 1143 05 (cropped).jpg

Sara Bareilles: A Modern Broadway Powerhouse

One of my personal favorite creators if Sarah Bareilles.  While many know Sara Bareilles (b. 1979) for her pop hits like Love Song and Brave, she has become a major force in modern musical theater.

  • She composed and wrote the lyrics for Waitress (2016), becoming one of the few female composers to write a full Broadway score.
  • She later stepped into the lead role of Jenna, proving her talent as a performer as well.
  • Her song “King of Anything” was a response to people constantly giving her unsolicited advice—especially about her music career.
  • Bareilles has continued her Broadway career with projects like Into the Woods and Girls5eva, inspiring more women to pursue composing and writing in theater.

Bareilles represents the future of musical theater, where women are not just stars but also creators shaping the stories we see on stage.

Preview of Drama Musical Theater Empowering Women Study Guides History Tony Awards 1

If you want to celebrate National Women’s Month in March, check out this bundle.  It’s full of information about four musicals which had women at the forefront and helm.

Exciting news!   I just heard that PBS is going to air Suffs this spring, 2026.  Be ahead of the crowd and pick up this study guide now.

How have you celebrated National Women’s Month in your classroom?  Please share. You can email me at DhcBaldwin@gmail.com

Woman behind DramaMommaSpeaks

Struggling to keep students engaged?
Discover how radio theater turns reluctant learners into active performers. Click here. https://weareliveradiotheater.com/

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Filed Under: acting, arts education, Broadway, community theater, community theatre, drama education, drama integration, Education, Education, High School, middle grades, music education, Musical Theatre, performing arts, Professional Theatre, Teacherspayteachers, theater, theatre, Tony Awards, youth theatre Tagged With: Ethel Merman, Julie Taymore, Lorraine Hansberry, Rita Moreno, Sarah Bareilles, Sarah Bernhardt

Unmasking Drama: Engaging Small Classes

February 27, 2025 By dhcbaldwin 2 Comments

A happy teacher calling on a small class of drama students.

Unmasking Drama: Engaging Small Classes

Unmasking Drama: Engaging Small Classes Effectively

Today, let’s discuss Unmasking Drama: Engaging Small Classes. Picture this: You are ready to teach on your very first day of classes. Excited, you double-check the student roster. Hmmm. At last check, there weren’t too many students signed up for your class. However, you knew that in the last days of summer, usually some stragglers sign up. In walk two students. Even though your roster listed these two students’ names, you are certain there are more arriving any minute.

You wait five minutes. The two students look uncomfortable and you are apprehensive. You think, “What can I do with a class of two? How can I still make this class engaging? “ Disappointed, you throw out your plans for the first week of class.

Unmasking Drama: Engaging Small Classes Effectively

Unmasking Drama: Engaging Small Classes

Does this sound like you? I’ve been in this position before. Teaching drama to a small group is a unique challenge. Unlike math or even art, drama thrives on human interaction, group dynamics, and ensemble work. So, what do you do when your “ensemble” consists of just two or three students?

Occasionally, a teacher will email me begging for help with teaching their class. They have a small class of students. The question to me is usually the same: Is it possible to teach drama to a small group of students?

My answer is always a resounding, yes! I’ve taught several classes with only one or two students. These were home school students in a huge enrichment program. Your success depends upon a few things, some of which are somewhat out of your control. However, there are many things you can control, and with a little creativity, you can turn a small class into an enriching experience.


 

Unmasking Drama: Engaging Small Classes Effectively

Unmasking Drama: Engaging Small Classes

1. Limited Ensemble Dynamics

With fewer students, it’s harder to create the rich, spontaneous interactions typical in larger ensembles. Each student’s contribution is magnified, and the diversity of ideas and energy might be more limited. At times, I’ve noticed that when a student receives too much attention, they can become overly dependent on me when struggling with a concept.

2. Individualized Needs

In a small group, differences in skill levels, personality, and confidence become more apparent. This is where the teacher’s level of exhaustion comes into play. You must tailor lessons, provide personalized feedback, and ensure that each student’s unique needs are met without compromising the group’s overall progress.

3. Risk and Vulnerability

Drama often involves improvisation and exposing one’s vulnerabilities. In a small setting, students may feel overly visible or pressured, making it tougher to foster a safe space for experimentation and risk-taking. (If one student resists and you only have two in the class, your chance of success has dropped by 50%!)

4. Building Group Cohesion

Developing trust and a sense of community is essential in drama. With fewer participants, it requires extra effort to ensure that all students connect and collaborate effectively. Absenteeism, students not learning their lines, or unfinished projects can bring your class to a standstill.


Solutions & Strategies for Success

Quick Fixes for Small Classes

  • Lean into one-on-one coaching: Treat it like a personalized drama mentorship.
  • Adjust group exercises for two or three people: Focus on duologues, monologues, and character studies.
  • Expand beyond acting: Let students explore directing, playwriting, and design.
  • Use multimedia tools: Record performances, create podcasts, or study filmed theater.

Now, let’s look at how I put these strategies into action.


Unmasking Drama: Engaging Small Classes Effectively

Emily’s Story: Adapting Drama for One Student

Emily was a wonderful homeschool student in my drama class. Several other students were signed up but dropped at the last minute. Since I had previous teaching experience with Emily and knew that if I canceled the class, she’d be crestfallen.

Inventory the Student’s Interests

To begin, I interviewed Emily to discover which aspects of theater interested her most. Ha! All of it! We discussed book titles that had been dramatized, musicals she liked.  Additionally, we considered whether she wanted to be realistic or fanciful in her set and costume designs. By giving Emily opportunities to choose the differentiation, I knew that we’d be more successful than had we not done so.

Unmasking Drama: Engaging Small Classes Effectively

Creating a Personalized Curriculum

Since I was teaching Emily once a week from August to May, we structured  our plan together. Here’s what it looked like:

Lesson Plan for a One-Student Drama Class

  • August: Icebreaker games and warm-ups that work for two people (e.g., Add a Word storytelling).*
  • September: Read the play version of Peter Pan aloud.
  • October: Studied and designed costumes for Peter Pan. Emily even sewed Peter Pan’s hat!
  • November: Explored set design and built a model of the Peter Pan set.
  • December: Watched the Peter Pan musical and compared it to the play version.
  • January & February: Studied stage properties. Emily designed and built a cardboard broadsword using an instructional video.
  • March: Studied stage makeup and designed a look for Captain Hook.
  • April: Selected a three-person scene from Peter Pan to perform. I invited two girls from another class to rehearse with Emily.
  • May: Performed the scene for Emily’s parents and she wrote a reflection about her experiences during the year of learning.

*Generally, we began each class with a warm-up exercise of some kind that tied to the subject of the day.

If you are in need of particular lessons for this plan, check out:  Dramamommaspeaks Store


Unmasking Drama: Engaging Small Classes Effectively

Alternative Approaches for Small Classes

Rotating Focus Each Class

Another way to teach a small drama class effectively is to structure your lessons to explore different aspects of theater each session:

  • Acting & Performance: Scene study, monologues, improv games.
  • Technical Theater: Costume and set design projects.
  • Theater History & Playwriting: Reading plays, writing scenes.
  • Production Elements: Sound design, lighting concepts, directing techniques.

Creative Drama Exercises for Small Groups

Here are a few engaging activities tailored for 1-3 students:

  • “Mirror, Mirror”: One student mimics another’s movements to build focus.
  • “What are you doing?: Take turns informing each other something they must do that is physical, “I’m mopping the floor.”
  • Table Reads: Read and analyze famous plays.
  • Monologue Swap: Perform the same monologue in different tones/moods.
  • Character Walks: Move around as different characters to develop physicality.

Unmasking Drama: Engaging Small Classes Effectively

Final Thoughts: Reframing Small Classes as an Opportunity

Thus, as you are aware, teaching a small drama class can feel isolating or discouraging. But it also offers a unique opportunity for deep, personalized instruction. Most importantly, the key is to lean into the strengths of a small class, offering students individualized coaching, creative freedom, and opportunities to explore theater beyond acting.

Your Turn!

  • Have you ever taught a small drama class? What creative solutions worked for you?
  • What are your favorite duo or trio scene studies? Drop your recommendations below! Or Email me at DhcBaldwin@gmail.com

I hope this blog post, Unmasking Drama: Engaging Small Classes Effectively has been helpful to you. Need more ideas? Check out my post on How to Use a Hybrid Lesson in Your Drama Classroom Tomorrow.

Woman behind DramaMommaSpeaks

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Filed Under: acting, arts education, arts integration, Creativity, drama education, Education, Education, excellence in teaching, multiculturalism, set design, Teacherspayteachers, teaching strategies, theater, theatre, youth theatre Tagged With: acting, Broadway musicals, cooperative learning, costume design, drama education, drama lessons, ensemble acting, improvisation, Peter Pan play, reading play, set design, technical theater, theater, warm up exercises

Why Every High School Theater Needs a Rehearsal Contract

February 6, 2025 By dhcbaldwin 3 Comments

Cast of Oklahoma and their first read thru

 

Why Every High School Theater Needs a Rehearsal Contract

Let’s talk about why every high school theater (and even middle school) needs a rehearsal contract. When I first began directing youth theater plays, I ran everything like a professional theater company.  That’s all I knew. Don’t be like me. It’s a wonder any students continued working with me.  I’m sure I was too strict, too rigid and too professional.  These are kids for heaven’s sake.  However, running a high school play or musical is no small task.

Between casting, scheduling, and final performances, there are countless moving pieces that require organization and commitment. One of the best ways to establish expectations from the start is through a rehearsal contract. If you do so, you will have less issues to deal with and that’s tantamount to keeping the stress at bay. Wondering about all the details of directing?  Check out:  Ten Important Elements to Consider When Directing a Youth Theater Production

You ask, what is a rehearsal contract?  A rehearsal contract is a simple document that outlines responsibilities, schedules, and rules for everyone involved in a production. It ensures that students, parents, and staff are on the same page, helping to create a smooth and professional rehearsal process.

Why Every High School Theater Needs a Rehearsal Contract

Why Every High School Theater Needs a Rehearsal Contract

  1. Attendance Policy
    Too often, I read in Facebook theater teacher groups about directors losing students to conflicts they never mentioned prior to casting the show.  Students should understand that theater is a team effort, and absences affect everyone. The contract should outline expectations regarding:
  • Required attendance for rehearsals and performances You need to decide how much you are willing to acquiesce to students’.  Me?  I don’t budge.  
  • Consequences for excessive absences.  Will they be dropped from the show?  
  • Procedures for notifying the director in case of emergencies–Do you want it in an email?  You must state this. 
  1. Rehearsal Schedule
    A clear schedule helps students plan accordingly. The contract should include:
  • Weekly rehearsal days and times  My advice is to begin and end promptly at the time you set.  Inform the students to arrive early if they want to visit.
  • Tech week expectations (longer rehearsals, no absences) If it’s over a meal time.  Will you feed them? 
  • Acknowledgment that last-minute changes may occur. Will you send out an email stating these or post it outside of your classroom? 

Why Every High School Theater Needs a Rehearsal Contract

Rehearsal Conflict: Calling the Right Actors at the Right Time

Note:  I’m a little different here–I only call the actors I need to work with in a particular scene.  Everyone is not called for rehearsal every day. If the scene includes other characters but they are not important to the blocking (a large cast scene, for example), I don’t require them until later.

Why?  Because the non-speaking characters can become bored very quickly. Or they might feel taken advantage of to have to rehearse when they aren’t the focus of the scene. (All actors have egos!) Check out my blog about double casting: Double Casting a Show? Here’s Advice

3.  Behavior Expectations
A rehearsal is only as productive as the attitude of the cast and crew. Guidelines should address:

  • Respect for directors, stage managers, and fellow cast members–Maintaining a quiet atmosphere is important
  • Staying focused and engaged during rehearsals–No talking during rehearsals
  • Cell phone usage and socializing limits–I don’t allow cell phones in rehearsals.  They are a huge distraction to everyone.  I warn everyone once.  After that, I begin taking phones away and setting them on the edge of the stage.

4. Line and Blocking Memorization
Deadlines for memorization help keep the production on track. The contract can specify:

  • When actors must be off-book.  For instance, when we block a scene, I remind them that  the next time we hearse this scene, I require them to be off book–they may ask for lines at this rehearsal, however.
  • The importance of learning blocking and choreography–I’m a real stickler for blocking. Additionally, I take great care and time pre-blocking the production and I have reasons that  I want the actors to use my blocking.  The blocking always motivates the lines. 
  • You may need to teach your students how to memorize lines and blocking.  Check out this post for help:  Three Ways to Memorize Lines for a Play or Musical
  • Consequences for failing to meet deadlines. If you set up rehearsals and expectations properly, you will not need consequences.  You could use a “three strikes and you are out” rule.

Why Every High School Theater Needs a Rehearsal Contract

Costumes, Props & Backstage Expectations: Taking Responsibility for the Details

5.  Technical and Costuming Responsibilities
The backstage crew and actors share responsibility for props, set pieces, and costumes. The contract should include:

  • Care and handling of costumes, props, and set pieces You need to make a list of what you expect here.  Do you expect the students to wash their clothes between shows?  Wearing deodorant? How about hanging them up properly?
  • Expectations for costume fittings–I also remind the students that they are wearing costume not a cute outfit to school.  It is different.  Plus, It is not uncommon for them to not like how they look in the costume (teenage angst) , but they will learn how to accept this in time.
  • Any personal items students need to provide (shoes, base clothing, etc.)

6.  Parent/Guardian Acknowledgment
Since high school theater often involves extended hours, transportation, and possible fees, the contract should require a          parent/guardian signature. This ensures:

  • Parents are aware of the time commitment  Spell it out several times. For instance, “Rehearsals run from 4:30 to 6:30 Monday, Wednesday and Friday. Then, beginning February 18, they will run Monday, Tuesday, Wednesday, and Thursday from 4:30 to 7:00 p.m.”
  • They understand financial obligations. Usually, I suggest mentioning this right up front.  This may keep some students from participating.
  • They are encouraged to support their child’s participation. Welcome your parents to be involved as chairs for committees such as box office, concessions, building the set, props and costumes. I’ve made great friendships with my students’ parents.  They are terrific cheerleaders for your program!

Why Every High School Theater Needs a Rehearsal Contract

The Benefits of Using a Rehearsal Contract

Sometimes, you will find that you are teaching the parents and the students how to rehearse and what is expected of them.  Remember:  A contract does more than just enforce rules—it builds accountability. Not only does it help students treat the production with a higher level of professionalism, it  prepares them for future performance experiences.

Additionally, it reduces confusion and ensures that parents, students, and staff share the same expectations from day one. By implementing a rehearsal contract, you’re setting your cast and crew up for success, creating a smoother process for everyone involved.

Looking for more information about directing a production with students?  Check out: Critical Steps in Producing a Play or Musical: Costumesor Critical Steps in Selecting a Play or Musical: Casting

A Freebie Just for You! 


Like always, it is my goal to help teachers by providing resources that lighten their teaching. Check out this rehearsal contract and see if it has what you need.  I’ve created a word doc. of it!! You can download it and work it from there.  I hope this helps you!  Click here: Rehearsal Contract

first rehearsal
First rehearsal of Oklahoma!

 


High School Theater Rehearsal Contract

Production Title: [Insert Play/Musical Name]
School Name: [Insert School Name]
Director: [Insert Director’s Name]
Rehearsal Start Date: [Insert Date]
Performance Dates: [Insert Dates]

1. Attendance Policy

The success of our production depends on everyone’s commitment. Cast and crew members agree to:

  • Attend all scheduled rehearsals unless excused in advance.
  • Arrive on time and remain for the full duration of rehearsal.
  • Notify the director at least 24 hours in advance if an absence is unavoidable.
  • Limit absences to [insert allowed number] before roles may be reassigned.
  • Be present for all mandatory rehearsals, including tech week and performances (no absences permitted).

2. Rehearsal Schedule

  • Rehearsals will be held on [insert days and times].
  • Tech week and additional rehearsals may be scheduled as needed.
  • Students must check the callboard/email for updated schedules.

3. Rehearsal Etiquette

  • Arrive prepared with your script, notes, and any necessary materials.
  • Give full attention to the director, stage manager, and crew.
  • Respect the rehearsal space—clean up after yourself and take care of props/costumes.
  • Keep talking and cell phone use to a minimum unless permitted by the director.
  • Support your fellow cast and crew members with a positive attitude.

4. Line and Blocking Memorization

  • Lines must be memorized by [insert deadline].
  • Blocking and choreography must be fully learned and retained.
  • Failure to meet deadlines may result in removal from the production.

5. Costume and Technical Responsibilities

  • Actors will be responsible for attending all costume fittings.
  • Proper care must be taken with all props, costumes, and set pieces.
  • Actors may be required to provide certain personal costume items (shoes, undergarments, etc.).

6. Behavioral Expectations

  • Treat directors, stage managers, cast, and crew with respect.
  • Disruptive behavior, excessive tardiness, or refusal to cooperate may result in dismissal from the production.
  • Follow all school rules and adhere to safety protocols.

7. Parent/Guardian Acknowledgment

Parents/guardians must acknowledge the commitment required:

  • Students may have extended rehearsals leading up to the show.
  • Parents are responsible for transportation and ensuring their child arrives on time.
  • There may be financial responsibilities for costume items or production fees (if applicable).

Agreement and Signatures

By signing this contract, I acknowledge my role in this production and agree to adhere to the rehearsal expectations. I understand that failure to comply with these terms may result in consequences, including removal from the production.

Student Name (Print): ____________________________
Student Signature: ____________________________ Date: ____________

Parent/Guardian Name (Print): ____________________________
Parent/Guardian Signature: ____________________________ Date: ____________

Director Signature: ____________________________ Date: ____________


This contract sets clear expectations while reinforcing professionalism in high school theater. Let me know if you’d like any modifications!

I hope this post gives you all the answers you are looking for, but if not feel free to email me at DhcBaldwin@gmail.com and ask me any questions you have.

Woman behind DramaMommaSpeaks

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Filed Under: acting, arts education, community theater, community theatre, directing experiences, drama education, Education, High School, middle grades, Musical Theatre, Producing plays and musicals, Teacherspayteachers, theater, theatre, youth theatre Tagged With: attendance policy, behavior expectations, costume responsibilities, directing advice, high school actors, lines and blocking memorization, parental involvement, rehearsal schedule, technical responsibilities

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