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Should Middle School Directors Cast Every Student?

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Should Middle School Directors Cast Every Student?

Part of my weekly activities is reading  various Facebook drama teachers group posts.  One subject is  mentioned at least once a month.  So let’s discuss Should Middle School Directors Cast Every Student?

No matter the grade level, whenever you direct (and produce) a youth theater play, one of the biggest challenges is auditions.  Every middle school theatre director eventually faces this question. Auditions are over, the sign-up sheet is full, and more students showed up than the script allows. Though exciting that many students want to be involved in your program it can be a worry, too!

Do you cast every student who auditions—or do you stick to the number of roles written in the script?

There isn’t a single “right” answer. But there are thoughtful, student-centered ways to approach the decision.

first rehearsal
First rehearsal of Oklahoma!

Why This Question Comes Up So Often in Middle School

Middle school students are incredibly brave just for auditioning. Many are trying theatre for the first time, stepping outside their comfort zone. Or they audition  responding to encouragement from a teacher or friend. Directors feel a natural pull to reward that courage with a role. We know how much a student’s life can change by being a part of the school production–it’s transformative.

There’s also the practical reality–numbers. Programs need participation to survive. This challenge is a every year.  I know I’ve sweated it out myself.  Administrators and parents often view theatre as inclusive by nature. Plus, teachers don’t want to discourage students from coming back. Even the most shy students can blossom on a stage.  Consequently, we like to include those students to see if it helps them.

These are valid concerns—and they deserve thoughtful consideration.

Should Middle School Directors Cast Every Student?

When Casting Every Student Can Be the Right Choice

Casting every student can work well in certain situations, especially when the show itself allows flexibility. Flexibility is the key. This approach tends to succeed when:

The script includes an ensemble, chorus, or expandable roles–this is the easiest way to include more students.

Additional characters can be added without harming the story–instead of one policeman, you have two. Instead of four children, you have six.

Every student has a clear purpose onstage. This is something you’ll have to teach them.  Use the 9 questions as a guide for them to create a character.  You can find out about them at: Uta Hagen’s Nine Questions resource.

Rehearsal time, space, and supervision allow for a larger cast. A word of warning here–you have to recruit extra adults to help oversee them. Without the supervision, a director can’t expect these students to behave appropriately. They are still learning theater etiquette.  Additionally, they are learning how to become an adult! Plus, it’s a liability issue. Usually, I had an adult assistant director who “rode the herd”, so to speak.

Should Middle School Directors Cast Every Student?

Inclusive Theater: When To Cast Everyone in Middle School

When I directed Fiddler on the Roof, Jr., I remember hearing a surprising amount of gossip about the single bed we had preset backstage. Comments like, “So-and-so were sitting too close—I bet they like each other,” circulated even though an adult was present at all times.

If the middle school Are you considering process or product with the show?  If it’s process, then casting many students will not impeded the show.  However, it is difficult to keep large numbers of children (because they still are) focused for longer than fifteen minutes.  Remember, their teachers usually change activities in their classes every fifteen or twenty minutes.  These brief learning times carries over to rehearsal and some students can’t adjust.

The key is intention. Casting everyone should mean actively including students—not simply placing them onstage with nothing meaningful to do. I know of one director who cast three different groups of Oompa Loompas for Willy Wonka and the Chocolate Factory.  Now, that’s just a crime.  No one really gets anything out of that kind of arrangement.

Should Middle School Directors Cast Every Student?

Two Very Different Casting Realities

In summer camps, I usually cast everyone because for some students this is the only time they can participate, especially if they are from a small town with no formal theater programs in their schools.

However, this idea did not work in a school production.  The principal manipulated me into casting 68 (yes, you read that correctly) middle school students in Fiddler on the Roof, Jr.  It was extremely stressful not just because of the numbers. Because these students were also involved in track and their coach wanted them at practices just as much as I did at rehearsals.  I tried to drop the students from the production, but the principal got in the way of that.  Oh, it was a terrible experience.

Should Middle School Directors Cast Every Student?

When Following the Script Makes Sense

It is also completely appropriate—and sometimes necessary—to limit the cast.

Following the script closely may be the best choice when:

The story relies on specific, well-defined roles.  If the play is titled, Five Little Peppers and How They Grew, there can only be five children. Or casting the class and very popular Sound of Music–-everyone knows there were only seven children.

Adding characters would weaken the storytelling.  Adding an extra Dracula to the play would not work at all.  You get what I mean.

Should Middle School Directors Cast Every Student?

Should Middle School Directors Cast Every Student?

Rehearsal logistics become unmanageable. Usually, middle school productions are relegated to the school cafetorium.  If you are unfamiliar with them think of a cafeteria with a stage located at the end of one wall.  It’s horrible, but it can work.

Students would be underused or disengaged. Yes, that occurs sometimes when a director/teacher pads roles.

The director wants to honor the playwright’s structure and intent. By far this is the best reason!

Not every “no” is a rejection. Sometimes it’s a way of protecting the quality of the production. If the musical needs good singers who can sing difficult music, then including someone who doesn’t see well can hamper the atmosphere.

The learning experience of the students could be hindered if too many people were added to the production. If a production is a classic such as The Sound of Music, it just doesn’t help the story if you add twenty-five extra nuns.  There is simply not enough for them to do in the production.  If the student feels taken advantage of or patronized, they may never audition for you again. Tip:  If you call your ensemble make certain your rehearse them that day. If not, you are sure to lose cast members.

Should Middle School Directors Cast Every Student?

Finding the Middle Ground

For many directors, the best solution lives somewhere in between. Personally, I like to double cast youth theater productions. Check out this blog post for more information about my opinion: Double Casting a Show? Here’s Advice. Usually, when I double cast, I’m guaranteed to have one of the double cast students  attend rehearsals.  I don’t like conflicts, but I discovered most of the time students are absent is because of illness.

Some alternatives to consider:

Creating understudy or swing positions.  Personally, I think there is little payoff to being an understudy.  Students this age don’t consider this an honor or compliment.  I think it sends a message of, “Your audition was good, but just not good enough to warrant a role.”  Eek.

Adding narrators or small featured moments.  Yes, this is a good way to include more students.  At the beginning of Into the Woods I’ve added additional narrators and created a chorus for particular moments in the music which sort of invite extra character such as at the end of act one.

Should Middle School Directors Cast Every Student?
First rehearsal of Mulan, Jr.

Keeping the Door Open: More Ways for Students to Belong

Offering meaningful technical theatre roles with real responsibility. A great way to learn more about the theater is to work on the stage crew.  In college, the theater department required freshmen to put in hours on crew or work in the stage or costume shops.  Because I worked backstage, I learned how important every technical aspect was to the success of the show.

Providing additional performance opportunities through class projects, readers or radio theatre, or showcases. One of the reasons this is a good idea is that is demonstrates there is more to theater than just a play or musical.  Maybe they are excellent mimics and great at creating a voice for a character?

Tell them about the readers theater or radio theater shows you have planned for later in the year.  By doing so, it keeps a door with more opportunities open for them. Here’s a radio theater play that gets lots of stars:  The Monkey’s Paw Radio Play.  Also popular is the readers theater script of The Little Girl and the Winter Whirlwinds. I adapted them to include more students than you’d expect, but it works well in both pieces.

Should Middle School Directors Cast Every Student?

What I always tell my students after casting

After auditions, I would remind my students that the production is not a be-all-end all situation. I invite them to look around the community and see where else they can audition for a production.  Community theater is a super place for these students. In a community theater, they’ll meet people who enjoy theater as much as they do.  They’ll make friends with adults, too.  Some students have little exposure to adults and observing them rehearsing or how they behave, teaches them a lot.

If a student can afford it, I suggest to them to take voice and dance lessons. Several of my students took voice lessons and strengthen their singing and confidence.  A dance class can build their coordination. Or join the drama club if you have one.  It’s another place students can spend time with their friends just enjoying the art form for fun.  If you need a resource for this, check out: Fairy Tale Camp

However, don’t be surprised if they never audition again. They may have found something else they want to do with their time such as sports.  Sometimes a student will take off a year and then return the following year.  My casts become like family and the student may miss that comradery, especially if they don’t feel seen the rest of the time at school.

Lastly, these options reinforce an important lesson: theatre is more than being center stage. This is so important to learn at a young age.

Should Middle School Directors Cast Every Student?
Alice in Wonderland, Jr.

What Matters Most

Middle school theatre is not about perfection. It’s about growth.

Students learn courage by auditioning and resilience by not always being cast.  Additionally, they learn to collaborate by working toward a shared goal. Directors serve students best when they are honest, thoughtful, and intentional—not when they try to please everyone. Casting decisions aren’t just about filling roles. They’re about creating the strongest learning environment possible for the students you serve. Let’s not even begin to discuss what to do with disgruntled parents after auditions…

What kind of audition challenges have you had with your productions?  I’d love to hear about them.  Contact me at DhcBaldwin@gmail.com

Click the image below and check out my new book! Or click here:  We’re Live! Radio Theater #101

Afraid to Teach Devising Theater in Your Classroom?

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Afraid to Teach Devising Theater in Your Classroom?

Afraid to Teach Devising Theater in Your Classroom?

If the words “Let’s devise a scene!” make your students stare back at you like deer in headlights—you’re not alone.  Many teachers are afraid to teach devising theater in the classroom.  I, for one, understand! It can feel abstract or a little chaotic at first. To be honest, I felt that way, too. But once you learn how to guide it, devising becomes one of the most rewarding tools in your drama classroom.

In my forty years of directing and teaching, I’ve found that devising builds confidence, collaboration, empathy, and creativity faster than almost anything else we do. Students suddenly realize that they are the playwright, the designer, and the performer. They have ownership—and that’s where the magic happens. Until you try devising theater with your students, you won’t believe how much engagement is derived from it.

Let’s break down a clear, classroom-ready way to use devising theater with your students.

Afraid to Teach Devising Theater in Your Classroom?

Afraid to Teach Devising Theater in Your Classroom?

When I was in college, this might have be called a structured improv., although this is more comprehensive. Devising theater is the process of creating an original performance as an ensemble. Instead of beginning with a script, students generate material through improvisation, movement, images, personal stories, character exploration, or thematic prompts.

The script—and sometimes even the structure—emerges from the group’s discoveries. It’s part improv, part writing workshop, part ensemble building, and completely student-driven. That last part is a double edged sword.  Giving the students ownership of their theater piece is exciting.  However, on the other hand, it can be nerve wracking.

Afraid to Teach Devising Theater in Your Classroom?

Why Should Drama Teachers Teach Devising Theater?

Devising naturally supports:

  • Student ownership of ideas
  • Ensemble building and trust
  • Creative risk-taking
  • Collaboration and communication skills
  • Social–emotional learning
  • Cross–curricular connections (social studies, ELA, history, even science)

And best of all—students who don’t see themselves as “actors” often thrive here. In many ways, it is non-threatening and that’s a big plus for reluctant students.

Afraid to Teach Devising Theater in Your Classroom?

Step 1: Start with a Strong Stimulus

This is the most important phase, in my opinion.  A stimulus gives students something to respond to. This is the single best way to avoid chaos. Without it, the students have a tendency to float around from idea to idea never coming to a conclusion until it is usually too late. For example, one time I observed two boys play around with some fur pieces I’d put in a box.  Ever so often I’d remind them to focus on their scene. Their scene, they decided, was cavemen living in a cave. That’s as far as they progressed.  They were so distracted by the furs they never got it together.

You can use:

  • A piece of music--You might want to give them boundaries such as only using classical or film music. Lyrics can impede the creative process.
  • A short poem or quote–Suggest to them of ways they could work the poem into their piece.  Take it apart?  Chanting particular sentences?
  • A photo of a place, person, or moment in history–Prior to the project as a warm-up I’ve shown students a photo of an old woman and asked them to tell me who she was, where did she live, etc.  Teaching them to use their imagination and that nothing is wrong so long as we focus together, we will have success.
  • An object (keys, scarf, shoes, old letter)–Stress to them that an object can become something else in their piece.  Maybe it begins as a scarf and over time it becomes a slithering snake?
  • A theme (identity, fear, courage, community)–You may need to give them examples, discussing themes of movies or plays of which they are familiar.

Ask students:
What does this make you think, feel, or imagine?  They could jot down notes in a journal they created for this experience.

Let their responses guide the first round of improvisation. This shows them that all ideas are good ones, some more than others.

Afraid to Teach Devising Theater in Your Classroom?

Step 2: Use Simple Improvisation Structures

First, you need to keep improvisations short—under 60 seconds at first. Why?  Because it forces the mind to abbreviate one’s ideas and to focus on selecting the best parts of one’s ideas.

Try:

  • Tableaux sequences–You know I love a good tableaux!
  • Gesture chains-– Much like the game “When I go to California” without speaking
  • “Pass the Action” improv.–This is a little like the improv. exercise, “Yes, and..”
  • Character walks with internal monologue–So clever, the actor demonstrates what they are thinking through their walk
  • Short improv scenes with a single rule (only questions, only movement, no words, etc.)

Read more about my thoughts on improvisation here:  Improvisation in Theater:  Myth Versus Reality

These tiny explorations give you loads of raw material.

Afraid to Teach Devising Theater in Your Classroom?

Step 3: Collect the Best Ideas

This step is crucial. Have students pause, reflect, and gather:

  • Interesting images they created–either digitally or three dimensional
  • Lines of dialogue that emerged--jotting down the best ones
  • Characters or relationships that appeared–are they useful to our improv.?
  • Movements that felt meaningful–which ones and how so?
  • Themes that keep repeating--what do these themes mean in your piece?

I usually assign a student as the “scribe” or I jot everything on the board.

Patterns always emerge. Usually, someone in each group notices them. Encourage the group when you see them light on an idea. It may be outlandish and farcical at first, but give them time to percolate.

Afraid to Teach Devising Theater in Your Classroom?

Step 4: Shape the Material into a Structure

When I was in college, this might have been called a structured improv.  However, this is more comprehensive. Frankly, I like it much better!

Once you have enough ideas, help the ensemble choose a simple structure.

A word of advice here. It does not need to be complicated! I’d remind the students that they are just learning how to do this.  Perhaps awarding participation points instead of a grade might help to make this less stressful?

Examples:

  • A series of vignettes
  • A journey (physical or emotional)
  • A day-in-the-life
  • Flashbacks
  • Nonlinear moments around a central theme

Most importantly, students decide the order. Encourage them to look objectively at their work and not be afraid to move their ideas around within the piece.  This is when ownership soars.

Afraid to Teach Devising Theater in Your Classroom?

Step 5: Rehearse, Refine, and Repeat

This is where it becomes “real theater.”

Guide students to:

  • Sharpen their movement and vocal choices
  • Clarify transitions–these can be challenging for students
  • Add sound, simple props, or rhythm
  • Edit anything unclear or unfocused

Devising is drafting. Revisions are part of the process—and students learn resilience by improving their own material. I wouldn’t be opposed to seeing each group’s piece prior to showing the rest of the class.  Give them notes and see what they do with them.

Afraid to Teach Devising Theater in Your Classroom?

Step 6: Share the Work

A novice teacher might make this more than it is designed to be.  A performance doesn’t have to be big. It can be:

  • A showing for another class
  • A share-out circle
  • A taped performance
  • A small showcase for families

The goal isn’t perfection—it’s expression.

Students often surprise themselves with what they can create together.

Afraid to Teach Devising Theater in Your Classroom?

Tips for Successful Devising

As the teacher, your job is to say “yes, and” early and often.

  • Keep group sizes small (4–6 students). That way, everyone has some say in the project.
  • Celebrate the process, not the product.  It’s all about the process, NOT the product!
  • Model risk-taking yourself. This is tantamount to success with this unit.  In fact, I think we teachers should always model everything for our students.
  • Provide enough structure to feel safe but enough freedom to feel creative. Put up the day’s objective and discuss it before they begin each day.

Final Thoughts

To think that I was not familiar with devising theater when it was introduced to me.  Now it seems like it’s second nature.  Devising theater is one of the most powerful ways to help students develop artistic confidence, empathy, and collaboration.

At its heart, devising says: Your voice matters. Your ideas matter. The ensemble needs you.

And when students believe that, they grow—not just as performers, but as people.

How have you used devising theater in your classroom?  I’d love to hear about it.  Just comment here or email me at DhcBaldwin@gmail.com

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

 

Why Drama Circles Work in the Elementary Classroom

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Why Drama Circles Work in the Elementary Classroom

Why Drama Circles Work in the Elementary Classroom

“How Drama Circles work in the Elementary Classroom” is a topic that’s close to my heart—mostly because you are far “more fortunate than I ever was. When I began teaching, I had absolutely no resources for the theater classes I taught. I was constantly tweaking college-level acting lessons for my very young students. Not the best idea…

But lucky you! After thirty-eight years (and then some), I’ve perfected my lessons to help you. Drama teachers have known for decades that movement, imagination, and storytelling help students learn. But what if you could combine all of those elements into a simple, low-prep activity that works in any classroom?  Plus, you were relegated to using a stage? There’s the secret sauce!

Enter: Drama Circles.

Drama Circles are quick, engaging activities which invite students to take turns acting out prompts, exploring characters, and stretching their creativity in a structured, supportive way. Best of all, drama circles require no costumes, no rehearsals, and no performance pressure. All you need is a printed set of cards (or a list of prompts) and a group of students ready to have fun.

Why Drama Circles Work in the Elementary Classroom

What Is a Drama Circle?

To begin, a drama circle is a simple activity where students stand or sit in a circle, draw a prompt, and act it out for the group.

The prompts can focus on:

  • Movement–“You are a squirrel trying to teach a walnut too far out of your reach.”

  • Vocal expression–“You are a gruff, old bear looking for berries to eat before you hibernate.”

  • Characters–“You are a grandmother who has proudly made the Thanksgiving turkey for the family only to find its burned.”

  • Emotions--“You are a clown who doesn’t know how to juggle.”

  • Seasonal themes–” You are one of the elves and you accidentally wrapped yourself up in the package you were wrapping.”

  • “Curriculum concepts–“You and your friend show us a tableau of  scene from Red Riding Hood.”

It’s worth noting, that the beauty of drama circles is that they allow every child to participate at their comfort level. In addition, they encourage bold choices and imagination.

 

Why Drama Circles Work in the Elementary Classroom

Why Drama Circles Work So Well for Elementary Students

Drama circles align beautifully with what elementary learners need:

1. They support whole-body learning.

Young children make meaning through movement. To that end, drama circles channel wiggles productively while strengthening coordination, spatial awareness, and expressive movement. Check out this blog post for more information about movement: Creative Movement: Elementary and Middle School Teachers – Ready to Move?

2. They build confidence.

Drama circles even nurture shy children to take risks.  Because students “perform” only for their classmates in a casual, low-stakes manner. One prompt at a time is far less intimidating than performing a whole scene.

3. They promote speaking and listening skills.

Every prompt becomes an opportunity for students to practice pacing, volume, and clarity.  These are all important communication skills that support reading fluency. Check out this post for more information about reader theater:  Unveiling Reader’s Theater: What You Never Knew

4. They encourage creative thinking.

A simple prompt like “Walk as if you’re on the moon” sparks imagination, problem-solving, and character interpretation. Pick up this drama circle is you really want to stretch your students’ imagination! Drama Circle Lost in Space:  The Star Voyager Chronicle

5. They strengthen classroom community.

Laughter, shared creativity, and positive peer feedback help build trust among students. Drama circles make classrooms feel safe and joyful. Check out this article on how laughter leads students to learn.

Why Drama Circles Work in the Elementary Classroom

How to Use Drama Circles in Your Elementary Classroom

Drama circles are incredibly versatile. Here are several ways teachers can integrate them seamlessly into the school day.

1. Use them as a warm-up activity.

Start your morning meeting or ELA block with a few prompts to energize your students. It sets a positive tone for the day.

2. Add them to transitions.

A two-minute elementary drama circle between subjects helps refocus brains after worksheets or independent work. This is such a great idea!  Check out this FREE drama circle: Drama Circle Winter Holidays

3. Use them as brain breaks.

Instead of turning to YouTube videos, let your students act out “Ride a roller coaster!” or “Be a sleepy dragon waking up.”

4. Tie them into seasonal celebrations.

Holiday-themed drama circles (like Thanksgiving, Winter Holidays, or Valentine’s Day) make festive weeks more manageable while keeping students on-task. Here is one for Thanksgiving: Drama Circle Thanksgiving Theme

5. Use them in literacy instruction.

Warm ups for kids through drama circles help students explore:

  • Character traits–“Show us you are proud of yourself having run the race.”

  • Emotion vocabulary–“Show us you are laughing hysterically at your friend.”

  • Setting–“Show us you are sitting near a mountain creek with your feet dangling in the freezing cold water.”

  • Action verbs–“Show us you are carrying heavy groceries into your house.”

  • Dialogue delivery–“Show us by saying this sentence in an unusual manner–Close the door.” (I’ve used this one for years.)

They’re also a great way to introduce reader’s theater or creative writing.

6. Substitute Plans Made Easy

Left with a day’s notice? Drama circles in the elementary classroom require almost no explanation. Plus, they  work perfectly as a structured, engaging sub activity. Because you can do so many activities with them, a substitute will feel at ease using them, especially if they are not a drama teacher. 

Why Drama Circles Work in the Elementary Classroom

Tips for Successful Drama Circles

Here are a few tricks I used for 38 years in the drama classroom—and they work beautifully in elementary settings:

✔ Keep prompts short and clear.

Elementary students respond best to simple phrases they can interpret creatively.

✔ Model the first prompt.

A quick demonstration helps them understand there are no “right answers.” This is essential in any situation!

✔ Encourage big choices.

Tell students, “Make it bigger than you think!” They’ll surprise you.

✔ Celebrate every attempt.

Applause, snaps, and positive comments build a feeling of success for all students. Here’s the importance of applause. Why Do We  Clap at the Theater? 

✔ Offer adaptation options.

Let anxious students perform with a partner, freeze-pose their prompt, or describe what they would do.

Drama Circle Activity Growing Bundle Improvisation Acting Holidays

Drama Circles Fit Everywhere

Whether you teach in a traditional classroom, a drama room, or a homeschool environment, drama circles are a joyful way to build creativity, communication, and confidence. They’re easy to implement. Drama Circles require virtually no prep, and ignite the kind of imaginative play that elementary students love. Who doesn’t love that?

If you’re looking for ready-to-print drama circles—seasonal themes, holidays, character challenges, and more—I have a growing collection created specifically for the elementary classroom. First and foremost, they’re classroom-tested and developmentally appropriate.  Plus, they are designed by a veteran drama teacher who believes learning should be joyful.

Why is a growing bundle a good deal?  Because if you get in now, you will receive every new drama circle I add to it for FREE!  (And as this bundle grows, the price will go up for new buyers.) You can check them out here:  Drama Circle Growing Bundle

I hope you will take me up on using drama circles in the elementary classroom. Honestly, they will not disappoint you.  You will be astounded at how quickly your students pick up the directions and engage!

Have you used drama circles in your elementary classroom?  I’d love to hear how they have worked for you.  Feel free to email me at DhcBaldwin@gmail.com

Deb

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Readers Theater: The Secret Tool for Social Studies

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Readers Theater: The Secret Tool for Social Studies

I wanted to write “Readers Theater: The Secret Tool for Social Studies” because so many teachers are searching for new ways to keep students engaged in social studies. When most teachers hear “Readers Theater,” they picture ELA fluency, reading  or drama class, or a fun break from routine. But Readers Theater is far more powerful than that—especially in the social studies classroom.

Social studies is filled with people, decisions, and moments that shaped the world. Readers Theater brings those stories to life.

Readers Theater: The Secret Tool for Social Studies

Why It Works

Personally, I believe Readers Theater is one of the most useful teaching tools we teachers have at our disposal. First, Readers Theater requires no costumes, sets, and maybe most importantly–no memorization. (I’m aware that I am repetitive here, but not having to memorize lines could be the single greatest asset of Readers Theater.) Talking about making it easy on the teacher! Plus, students remain seated and bring characters to life using only their voices. Stay seated, you say?  Plus, everyone faces forward.  Consequently, there is not much opportunity for shenanigans.  Since the pressure of performance is removed, even shy or reluctant learners can participate successfully.

It’s simple, low-prep, and high-engagement—just what teachers need when the curriculum feels heavy.

Readers Theater: The Secret Tool for Social Studies

✅ 1. Readers Theater Builds Historical Empathy

As we know, understanding history is more than memorizing dates. I remember when I was in social studies class, I had a difficult time with all of the facts.  Students learn why people behaved as they did, how they felt, and what values shaped their choices.

Here’s a tip:  When students “step into” a historical figure’s role—even just by reading lines—they connect emotionally with the past. That’s powerful. 

  • What did enslaved families risk on the Underground Railroad?

  • How did immigrant children feel arriving at Ellis Island?

  • What was it like to hear Lincoln’s words at Gettysburg?

Readers Theater turns history from a timeline into a human experience.

Readers Theater: The Secret Tool for Social Studies

✅ 2. It Gives Voice to Multiple Perspectives

Good social studies teaching includes multiple viewpoints. Readers Theater makes that visible and audible.

A script can feature:

  • Leaders and everyday citizens

  • Soldiers, nurses, and workers–Veterans Day One Act

  • Children’s voices from different cultures–check out Magic Lake (a Peruvian story about a little girl who saves the prince)

  • Opposing sides of an issue–It Could Always Be Worse is an excellent example of being grateful

Students begin to recognize that history isn’t one story—it’s many. I find that learning that other cultures have the same issues that I have makes me feel better about my particular issue at the time.

Readers Theater: The Secret Tool for Social Studies
My ESL Drama Club in Smithton Middle School, 2001

✅ 3. It Supports ELLs and Struggling Readers

Because students read aloud together, Readers Theater:

  • Encourages repeated reading (which boosts comprehension)

  • Builds vocabulary naturally

  • Strengthens speaking and listening skills

  • Reduces anxiety—no memorization, no performing alone

ELL students in particular benefit from hearing fluent reading modeled by classmates while having the chance to participate at their comfort level. About twenty years ago, I sponsored an ESL Drama Club.  What a tremendous experience that was.  We performed a Readers Theater script by Aaron Shepherd. 

Readers Theater: The Secret Tool for Social Studies

✅ 4. It Turns Primary Sources Into Something Students Can Understand

Primary documents are rich—but intimidating. Once a student is intimidated, they can’t learn.  Readers Theater helps teachers “translate” them into accessible language without losing meaning. For example, a student could learn about Martin Luther King through a Readers Theater script.  

A script can simplify:

  • Speeches

  • Letters

  • Newspaper accounts

  • Diaries

  • Oral histories

Additionally, if a teacher uses the Readers Theater script for a performance, such the Martin Luther King holiday, students begin to internalize content instead of just decoding it. I know that when my teachers used Readers Theater in our classes, I remembered the information much more easily.

Readers Theater: The Secret Tool for Social Studies

✅ 5. It Encourages Collaboration and Critical Thinking

Social studies is filled with cause and effect, motives, and outcomes. Readers Theater takes those ideas off the page and puts them into dialogue, letting students hear history instead of just reading about it.

After a script, students can discuss:

  • Who had power in the situation?

  • What choices did characters have? Li Chi The Serpent Slayer is a fantastic Chinese folk tale about a girl volunteering herself to save her village.

  • What might you have done differently?

  • What bias or point of view appears in the story?

Readers Theater: The Secret Tool for Social Studies

How Readers Theater Turns Passive Readers into Powerful Thinkers

Suddenly, they’re not just reading history—they’re interrogating it. When students interrogate information—asking questions, challenging assumptions, and discussing why events happened—they are no longer passive receivers of content. They become active thinkers. That shift builds confidence.

  • They learn that their ideas and questions matter.
    When students are encouraged to question the text, they begin to trust their own reasoning. Without a doubt, trusting one’s self is monumentally important.

  • They discover they can figure things out on their own.
    Instead of waiting for the teacher to supply answers, they explore possibilities and defend their thinking. For that reason, their sense of ownership becomes a heady experience.  One experience a students doesn’t easily forget!

  • They practice speaking up.
    Discussing motives, cause and effect, and different perspectives helps students find their voice and participate more boldly. Using Readers Theater as the vehicle for your teaching is a sly way to engage students. Personally, I think it is magical.

  • They realize there is not always one “right answer.”
    In social studies, interpretation is part of learning. When students see that they can contribute, analyze, and debate, their confidence grows. Additionally, as confidence grows, a teacher may discover that the most reluctant student feels comfortable speaking up.  Readers Theater is non-threatening.

Additionally, interrogating information isn’t just academic—it’s empowering. Readers Theater makes this even more accessible because students hear viewpoints aloud, react to them, and respond in real time. As a result, that experience helps them feel capable, engaged, and confident in the classroom. And…it’s effortless teaching, I promise you.

✅ Ideas for Using Readers Theater in Social Studies

  • Biographies (Harriet Tubman, Cesar Chavez, Sojourner Truth, Eleanor Roosevelt)

  • World cultures and holidays ( Día de (los) Muertos–Day of the Dead)

  • Indigenous stories and oral traditions (How the Bee Got Its Singer-a Cherokee Creation Myth)

  • Immigration experiences

  • Civil Rights Movement

  • World War II home front

  • Constitutional Convention debates

  • Historical folktales and legends ( The Fall of the Spider Man–a Canadian Folk Tale)

Short scripts can be used during:

  • Introduction to a Unit

  • Stations

  • Friday fun days

  • Sub plans

  • Intervention groups

  • Literacy centers

  • Class performance days

✅ Final Thoughts

I hope you’ll consider including Readers Theater scripts into your social studies curriculum. Social studies should never feel like a silent subject. It should be full of voices, stories, and perspectives.

Readers Theater does exactly that—bringing history to life in a way that is meaningful, accessible, and unforgettable.

How have you used Readers Theater in your social studies classroom?  I’d love to hear about it.  Feel free to email me at DhcBaldwin@gmail.com

   Have you heard the news?  We’re Live! Radio Theater #101 was awarded a 5 star review of excellence.  Get your copy here! We’re Live! Radio Theater #101

How Sound Design Brings Characters to Life

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How Sound Design Brings Characters to Life

How Sound Design Brings Characters to Life

Have you ever stopped to think about how much a single sound—or even the tone of a voice—shapes how we feel about a character? I always notice the sounds of the film–the soft purr of a Disney heroine and the Lion in the film of Wizard of Oz. The booming laugh of a villain, or the rustle of footsteps echoing down a hallway, help me to become more engaged in the story. Sound gives life and depth to a story long before we see the full picture. That’s the essence of how sound design brings characters to life—it transforms simple motion and dialogue into emotion, personality, and atmosphere.

Recently, I came across a short reel from SoundWorks Collection, a platform that profiles the incredible artists who create the sound worlds we all love. This reel features Disney’s sound team, showing just how much care goes into every whisper, creak, and splash. You can view it here.

The Power of the Voice

When I was a child, I discovered I had a talent for creating character voices.  I could imitate voices I heard in movies and television.  I remember when I saw the movie, The Music Man, I walked around for days afterward quoting the mayor’s daughter, “E Gods!” Needless to say, my mother wasn’t always fond of the characters I quoted.  From watching the television show, Hogan’s Heroes for years, I couldn’t resist mimicking the German guard’s line, “I see nothing!”—always said with an over-the-top German accent that made everyone laugh.

Usually, when I create a character for a play or musical, I include developing a voice for the character. When I stepped into the role of Mother Goose in Babes in Toyland, I imagined her as a quirky, chatty old bird. Consequently, I gave her a lisp and a nasally twang—and it brought down the house! (There again, I’m obviously wanting the audience’s reaction.)

 When teaching acting, I remind my students that their voice is their most flexible instrument. Through tone, rhythm, and volume, they can communicate emotion, personality, and intent. The biggest challenge is getting students to try using a voice.  Particular vocal exercises will help them bridge that gap and become more confident.

How Sound Design Brings Characters to Life

A Drama Exercise in Vocal and Physical Expression

One of my favorite exercises to use for this particular focus is  Close the door.

Directions:
Have the class stand in a circle facing inward.

Say to the students:
“Today we’re going to explore using our voices and bodies to express meaning. You’ll say the line ‘Close the door.’ in any way you wish — but you cannot change the words. You may add a gesture, whisper, laugh, use an accent, change your tempo or pitch — anything you like — as long as you keep the same words.”

Each student will demonstrate their version of the line to the person on their right. That partner will then imitate the delivery as closely as possible, matching the voice, tone, and movement.

After imitating, the partner will perform the line in their own unique way, showing how they want to express it.

After each pair performs, we’ll give them a round of applause. The applause isn’t for judging the performance — it’s to celebrate their creativity and willingness to try something new.

Why is this exercise always successful?  Because it levels the playing field.  Everyone creates a character, everyone imitates and everyone says this one non-threatening line.

When the Voice Is the Character

How Sound Design Brings Characters to Life

Animated films and radio theater do this beautifully—without facial expressions or physical movement, the performer must convey everything through voice alone. An excellent example of a character voice is Julie Kavner’s Mage Simpson. Check her out here:  Voice Evolution of Mage Simson. Characters such as Genie in Aladdin or Olaf in Frozen or Miss Trunchbull in Matilda demonstrate using  their vocal energy as part of their personality.

How Sound Design Brings Characters to Life

Sound Design Completes the Picture

But there’s another star we don’t always notice: the sound designer. If you’d like to learn more about Addison Teague,  an Oscar winning designer my husband and I know personally, check out: There’s a Place for Everyone in Theater   Hear his most recent designs, check out  Tron:  Ares.

Sound designers are the invisible magicians who build the world around the actors’ voices. Every drip of water, swish of fabric, and gust of wind is chosen and layered with purpose. It’s not just background—it’s storytelling.

That’s why I love sharing short behind-the-scenes features like this SoundWorks Collection reel. When students hear the isolated sounds of footsteps, wind, or waves, they begin to understand how sound supports emotion.

How Sound Design Brings Characters to Life

Classroom Idea: Sound Design Reflection Worksheet

To help your students think like sound designers, I’ve created a Sound Design Reflection Worksheet you can download and use for free. It’s perfect for middle or high school drama or film units. You can pick it up here: Sound_Design_Reflection_Sheet_Dramamommaspeaks You can use it with this clip I’ve provided above or any that you choose.

Voice acting and sound design are two sides of the same creative coin. Both shape how we experience stories, and both remind us that performance isn’t just about what we see—it’s about what we hear.

Whether your students are voicing characters, creating foley effects, or reflecting on how sound shapes emotion, they’re learning to listen deeply—and that’s one of the most powerful skills an artist can have. If you are ready to teach about sound effects check out: Sound Effects 

How do you teach character voices?  I’d love to learn how you do it.  Feel free to email me at DhcBaldwin@gmail.com

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Who Is Springboard to Action and Why It Matters

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Every so often, someone reaches out to me and asks if I can help spread the word about an organization that’s making a real difference in theater education. I’m always willing to consider it.  That’s part of my mission statement.  When I see a program that opens doors for students and inspires teachers, I’m always eager to share it. Today’s spotlight is on one of those opportunities: Who Is Springboard to Action and Why It Matters.

Who Is Springboard to Action and Why It Matters

Who is Springboard to Design and Why It Matters

Springboard to Design encourages and mentors high school students from underrepresented populations to explore the process of theatrical collaboration and the many avenues of American Theatre design. Led by renowned members of the contemporary theatre in the heart of NYC, the Springboard to Design curriculum includes workshops, seminars, and access to important work on and off Broadway.

Springboard to Action

Instructors consist of award-winning artists who create a collaborative environment for students, as they explore costume, set, lighting, projection, hair, makeup, and sound design. How wonderful this is for the students! Knowing that someone who the students can relate to because of their background or culture or ethnicity is important.  Such an approach ensures that the program is not all about teaching and learning—it’s about connection.

Springboard to Design is an initiative by Design Action, an intergenerational coalition of BIPOC and white designers working to end racial inequities in North American theatre. The program was incubated in collaboration with the American Theatre Wing in 2021. In the summer of 2025, Springboard to Design was hosted at The Harvey Fierstein Theatre Lab housed in The New York Public Library for the Performing Arts in the heart of Lincoln Center.

Who Is Springboard to Action and Why It Matters

Benefits of Springboard to Design

In case you want to share this information with your students, here’s a quick list of how this program benefits students:

  • Accessibility – Tuition, housing, and program costs are fully covered, making it possible for all students to attend.
  • Representation Matters – Students work with professional designers who reflect diverse backgrounds and lived experiences.
  • Professional Mentorship – Award-winning artists guide students through real-world design challenges.
  • Hands-On Training – Workshops let students experiment with costume, set, lighting, projection, hair, makeup, and sound design.
  • Career Exploration – Students discover design pathways beyond acting, expanding their vision of what a future in theatre can be.
  • Community Building – The program fosters collaboration, teamwork, and friendships with peers who share the same passions.
  • Networking in NYC – Students gain exposure to Broadway professionals and experience theatre in the cultural hub of the U.S.
  • Recognition – Being part of a nationally recognized program (Anthem Award winner) adds prestige to a student’s portfolio or college application.

Isn’t this is exciting?  I wish I had students that I could introduce to this program.  If you need an answer to the question, “How is theater useful in the outside world”, read: Why Theater Education Matters: Developing Key Life Skills

Who Is Springboard to Action and Why It Matters

Breaking Barriers for Future Theater Artists

The program includes workshops and mentorship from award-winning artists. Students explore costume, set, lighting, sound, hair, makeup, and projection design in the heart of New York City. Here’s the exciting part—the SB2D program is FREE to all students.

Springboard to Design (SB2D) gives students the chance to dive into the world of theatre design and discover new artistic possibilities, no experience required! With housing available and tuition fully covered, this program is built to remove barriers for the next generation of theatre designers. Thus, students expand their sense of community, collaboration, and imagination.

Springboard to Design is all ready a winner!  The program was recognized by the 2022 and 2023 Anthem Awards as a Bronze Winner for Education, Arts, & Culture – Community Engagement.

Who Is Springboard to Action and Why It Matters

Application Details and Deadlines

The applications for the 2026 program are open from September 15th to December 15th, 2025.

The application will include a few short essays, a brief introduction video, and an original piece of artwork.

There is a $25 application fee. If for any reason you are unable to afford the fee, or if it causes stress on family finances. If so, please contact us to receive a voucher. This application fee goes directly back into the program and helps keep the week-long experience free for students.

The Power of Finding Your Community

I can only speak from personal experience.  When I attended college I finally found people who were just like me with the same interests and goal.  I was much more willing to show up for myself.  Sounds to me like Springboard to Action is the opportunity and growth we’d all like to give our students an opportunity to attain.  For more information about the program, go to Springboard for Action.

I give drama teachers advise nearly weekly.  If you have any questions or need some help, just email me at DhcBaldwin@gmail.com

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