drama education

Theater Books Every Drama Teacher Should Own

May 8, 2025 By dhcbaldwin Leave a Comment

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 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.

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.

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.

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

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

Teach Through the Arts for Healthier Students

April 1, 2025 By dhcbaldwin 2 Comments

Teach Through the Arts for Healthier Students

If you’re a teacher, you already know how students light up when they’re given the chance to create. I was one of those students. Whether it’s acting out a scene, drawing a character sketch, or composing a soundscape, the arts tap into something deeply human. But beyond building imagination and collaboration, there’s another reason to champion the arts in your classroom: teach through the arts for healthier students. Creative activities don’t just enrich learning—they support emotional regulation, reduce stress, and promote well-being in ways that traditional methods often can’t.

I jokingly tell friends that, “I’m going to see a live musical tonight to boost my mental health.” I coined, “arts vitamins” for these experiences. Although anecdotal, I can prove how much they help me. I have a devil of a time sleeping through the night. However, whenever I attend any sort of arts event I sleep like a little baby that night. Seeing the arts live always moves me most, but even when I watch a performance on screen—whether in a theater or at home—I still feel uplifted. One of my favorites “arts vitamins” to view at home is: nattheaathome.org

In 2019, the World Health Organization reviewed over 3,000 studies exploring the connection between the arts and health. Their conclusion? The arts play a major role in the prevention of illness, the promotion of health, and the management and treatment of disease.

Teach Through the Arts for Healthier Students

For years, the arts were often seen as enrichment—something extra to sprinkle in after the “real” academic work was done. But research continues to prove otherwise: the arts are foundational to student wellness and development.

Creative experiences directly impact the brain and body in ways that support learning and health. When students engage in activities like acting, drawing, singing, or dancing, they’re doing far more than expressing themselves—they’re nurturing their nervous systems and emotional intelligence. Have you ever had to debate why your theater class is important? Check out this resource. Why Theater Education Matters

The Art of Feeling Better

Here’s how the arts support student health:

Lower cortisol levels: Engaging in creative activities can reduce the stress hormone cortisol, leading to calmer, more focused students—especially important in high-pressure school environments.
Improve emotional regulation: Artistic expression gives students safe ways to explore and manage emotions. Acting out scenes, drawing feelings, or writing monologues helps them process big feelings in a constructive way.
Enhance communication and social connection: Group projects, performances, and critiques all help students develop empathy, active listening, and collaboration skills. These are critical for both classroom success and life beyond school.
Strengthen the immune system: When students are less stressed and more engaged, their bodies respond positively. Lower stress levels have been linked to better immune function and overall well-being.

As a teacher, you’re not just boosting creativity—you’re giving students tools for healthier lives. Every artistic moment in your classroom is a step toward a more balanced, resilient learner. Looking for a FREE lesson from me? Pick up my FREE Nicole Scherzinger Biography Lesson here.

When Art Becomes Medicine: A Swiss Town’s Prescription for Creativity

If you need proof that the arts are more than just enrichment, look to the small town of Biel/Bienne, Switzerland, where doctors are literally prescribing museum visits to patients dealing with stress, depression, or burnout.

In a groundbreaking pilot program launched in early 2024, patients can receive a “cultural prescription” as part of their treatment plan. These prescriptions allow free access to local art museums, encouraging individuals to explore creativity and beauty as a form of healing. Inspired by similar programs in Canada and Belgium, this initiative is a bold recognition of what many educators already know: art heals.

Additionally, patients reported improvements in mood, motivation, and perspective—just by spending time in creative spaces. The program doesn’t just serve as a mental health intervention; it also builds connection, curiosity, and engagement with the community.

Classroom Connection: What This Looks Like in Action

Students who are struggling with anxiety might find solace in writing a monologue or performing a scene. Or you can play it safe and do a group performance which can build confidence in shy students. Also, reflective art journals help process emotions. Even a simple daily sketch or a “freeze frame” tableau can reset the tone of a restless classroom. Want a resource for this purpose? Check out: Tableau for the End of the School Year

These aren’t just fun activities—they are tools that support mental and emotional health.

The ‘Art for Everyone’ Movement: Expanding Access, One Step at a Time

When I was researching this topic, I learned about this movement on CBS Sunday Morning. The Art for Everyone movement reminds us that art isn’t just for professional artists or elite programs—it’s for everyone. Similarly, this growing initiative advocates for accessible, inclusive arts education in schools, libraries, hospitals, and communities. It partners with artists, educators, and civic leaders to make sure students—no matter their background—get a chance to create and express. I’ve blogged about this subject in the past from a different perspective. You can read it here: This is What the Arts do for You

You’re part of that movement every time you make space for creativity in your classroom. Don’t know how to do so? Check out: How Do I Use Arts Integration in the Classroom?

The Research Is In: Arts Build Confidence and Well-Being

As an arts advocate for over forty years, I have first hand experience at the positive results the arts encourage in our students. In fact, I’ve never known them not to boost a student’s confidence. However, in a recent study from China focused on college students found something powerful: students who participated in fine arts classes reported higher levels of psychological well-being. But that’s not all—what made the biggest difference was the boost in creativity and self-confidence those classes sparked.

In other words, the more students engaged with the arts, the more they believed in their ability to create and solve problems—and the better they felt mentally and emotionally. Yahoo!

Furthermore, this matters at every level of education. As teachers, when we teach through the arts, we give students space to explore their creativity, we’re also helping them grow into more confident, resilient individuals. It’s not just about developing artistic skills—it’s about supporting the whole person.

Final Thoughts for Teachers

When you teach through the arts, you don’t need a separate arts budget. Nor do you need a black box theater to bring the benefits of the arts into your students’ lives. Start small. Try:

A short scene reading on a Friday afternoon
A visual reflection poster after a book unit
A “soundtrack” assignment for a character study
Or simply asking, “How can we express this concept creatively?”

When you integrate the arts, you’re not just teaching your subject—you’re nurturing your students’ health, confidence, and humanity. And that is something worth celebrating.

What arts activities do you include in your lessons? Did you know that my masters is in creative arts learning, or arts integration? I am very willing to create for you the lesson you need for this express purpose. Just email me at DhcBaldwin@gmail.com

Women Who Shaped Theater: Sarah Bernhardt to Audra McDonald

March 15, 2025 By dhcbaldwin Leave a Comment

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

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.

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!

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.

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.

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.

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.

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.

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

Unmasking Drama: Engaging Small Classes

February 27, 2025 By dhcbaldwin 2 Comments

Unmasking Drama: Engaging Small Classes

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

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

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.

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.

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

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.

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.

Why Every High School Theater Needs a Rehearsal Contract

February 6, 2025 By dhcbaldwin 3 Comments

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

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.

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?

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.

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!

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.

Exploring Modern Theaters: A Global Journey in Performance

January 20, 2025 By dhcbaldwin Leave a Comment

Exploring Modern Theaters: A Global Journey in Performance

As you might expect, I’ve attended theater all around the world–from Marcel Marceau in 1961, Kabuki theater in 1973 to an Innuit play in 2001. Additionally, I’m aware that most of our students are not as fortunate as I. However, I think there is one way we can remedy this for our students. Simply put, introduce to them theater around the world. Modern theater is a mix of old traditions and new ideas. Around the world, theater is growing and changing, showing the creativity of different cultures. This post, “Exploring Modern Theaters: A Global Journey in Performance,” takes a look at how theater is done in various places and what makes each unique.

Creativity and Diversity

United States: The U.S. is known for its amazing theater, especially Broadway in New York City. Big musicals like Hamilton and The Lion King are huge hits, but there’s also smaller, more creative theater happening Off-Broadway and in places like Chicago. These smaller theaters often tell new stories and try out bold ideas. Perhaps more importantly, we have theater opportunities for people of different abilities, welcoming everyone to participate!

When Sam’s son, who has developmental disabilities, asked, “When is it my turn to act on stage?” she took action. As the theater arts coordinator at Phoenix Day School for the Deaf, Sam created Detour Company Theatre to provide performance opportunities for individuals with cognitive and physical disabilities. Detour, with about 50 actors, stages double features like Shrek The Musical and Legally Blonde The Musical. Consequently, this allows our members to shine in lead and ensemble roles. “We take detours, but we all arrive at the same destination—entertainment and joy,” says Sam.

Canada: Canada’s theater reflects its mix of cultures. The Stratford Festival in Ontario. This festival focuses on Shakespeare and classic plays. Additionally, Indigenous playwrights like Tomson Highway tell important stories about First Nations. In Quebec, French-language plays bring another layer to Canada’s theater scene.

Latin America: Theater in Latin America often combines art and activism. In Brazil, Augusto Boal’s Theatre of the Oppressed is a groundbreaking method that uses theater as a tool for social change. This technique encourages audience participation, turning spectators into “spect-actors”. This gives the audience a chance to engage with the performance and suggest solutions to real-life problems. Not only is that engaging, but of course topical. It includes forms like Forum Theatre, where audience members step into roles to explore different outcomes, and Image Theatre, which uses body language to communicate complex ideas without words.

Boal’s work has inspired activists and educators worldwide to use theater to address inequality, oppression, and social justice issues. In Mexico, street theater is very popular, turning public spaces into stages and making theater fun and easy to access.

Europe: Old and New Come Together

United Kingdom: The UK has a wide variety of theater, from the famous West End to interactive shows by companies like Punchdrunk. London’s National Theatre and Shakespeare’s Globe perform both old and new works, while smaller theaters introduce exciting new playwrights.

Punchdrunk Theatre Company, founded in 2000 by Felix Barrett, revolutionized immersive theater by placing audiences directly in the action. Known for their acclaimed production Sleep No More, a film noir-inspired take on Macbeth that’s captivated audiences in London, New York, and Shanghai, Punchdrunk creates non-linear narratives in sprawling, interactive spaces. Their latest, The Burnt City, explores the mythological Trojan War in a vast London venue.

Germany: Germany is known for its creative and experimental theater. Directors like Thomas Ostermeier at Berlin’s Schaubühne. Furthermore, this company makes bold choices, using technology and powerful visuals to connect with audiences in new ways.

France: French theater is often cutting-edge. The Avignon Festival is famous for blending theater, dance, and technology. Groups like Théâtre du Soleil explore global and political themes, attracting audiences from around the world.

Eastern Europe: Theater in Eastern Europe is shaped by its history. Puppetry and physical theater are common, with groups like Poland’s Teatr Piesn Kozla using music and movement to tell moving stories.

Asia: Mixing Old and New

India: Indian theater combines ancient traditions with modern issues. The Rangashankara theater in Bangalore encourages new writing. Likewise, traditional forms like Kathakali inspire today’s plays. Writers like Mahesh Dattani focus on topics like gender and identity.

Japan: Japan’s theater keeps its classics alive, like Noh and Kabuki, while also pushing boundaries. Groups like Tokyo Metropolitan Theatre bring together artists from around the world, and playwright Toshiki Okada uses minimalist styles to talk about modern life.

China: Chinese theater is a mix of traditional opera and modern techniques. For instance, cities like Beijing and Shanghai host performances that include drama, music, and digital effects.

Southeast Asia: Countries like Indonesia, Thailand, and the Philippines show a blend of tradition and modern theater. Shadow puppetry, like Wayang Kulit, inspires new works, while writers explore global and cultural themes.

Africa: Stories of Strength and Change

African theater is deeply connected to storytelling and tradition. In Nigeria, Wole Soyinka’s plays explore the mix of old and new cultures. Moreover in South Africa, productions like Woza Albert! use humor to talk about serious topics like apartheid. Across the continent, theater reflects themes of identity and resilience, with festivals like South Africa’s National Arts Festival showcasing these works.

Australia and Oceania: Cultural Bridges

In Australia, Indigenous theater is very important. Groups like Bangarra Dance Theatre tell stories through dance and music, celebrating Aboriginal culture. Playwrights like David Williamson write sharp, funny plays about modern society. In New Zealand, theater mixes Maori myths with current issues to create unique performances.

Global Trends in Modern Theater

Theater today shares some common trends across the world:

Diversity and Representation: More playwrights and directors from different backgrounds are sharing their stories, creating fresh perspectives.
Technology on Stage: Shows are using virtual reality, projections, and other technologies to create amazing effects. Productions like The Encounter use 3D sound to make the audience feel part of the story.
Eco-Friendly Practices: Many theaters are trying to be greener by reusing sets and cutting down on energy use.
Interactive Shows: Some theaters let the audience take part in the story. Additionally, plays like Sleep No More create immersive experiences where viewers explore the performance space.

The Future of Modern Theater

John Steinbeck said, “The theater is the only institution in the world which has been dying for four thousand years and has never succumbed.” Every time I hear about a new production opening or a theater announcing its next season, I get a lump in my throat thinking about how “theater is dying”, not!

Modern theater keeps changing to stay exciting and relevant. As technology grows and new ideas emerge, theater will continue to reflect the world’s challenges and successes. That is exciting, yes? By mixing old traditions with new innovations, theater remains a powerful way to bring people together and share stories.

Whether it’s on big stages like Broadway or in small, experimental spaces, modern theater shows us what it means to be human. It connects us across cultures and reminds us of the power of storytelling.

Theaters Around the World Resource

Are you teaching middle and high school students about modern theater? Check out my Theaters Around the World unit. It contains a series of video clips with questions pertaining to various theater companies around the world not mentioned here. Have any questions? Please feel free to email me with them at DhcBaldwin@gmail.com

Deb

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A Freebie Just for You!

High School Theater Rehearsal Contract

1. Attendance Policy

2. Rehearsal Schedule

3. Rehearsal Etiquette

4. Line and Blocking Memorization

5. Costume and Technical Responsibilities

6. Behavioral Expectations

7. Parent/Guardian Acknowledgment

Agreement and Signatures

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Like this:

Exploring Modern Theaters: A Global Journey in Performance

Creativity and Diversity

Europe: Old and New Come Together

Asia: Mixing Old and New

Africa: Stories of Strength and Change

Australia and Oceania: Cultural Bridges

Global Trends in Modern Theater

The Future of Modern Theater

Theaters Around the World Resource

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