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Engaging Reluctant Students in Drama Class

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Engaging Reluctant Students in Drama Class

Engaging Reluctant Students in Drama Class

This blog post, Engaging Reluctant Students in Drama Class, began with considering  every drama teacher eventually faces: students sitting in class who never intended to be there in the first place. When I taught a large middle school drama class which was a pre-elective, more than 500 sixth graders spent twenty-five days in my classroom each year. Learning how to engage reluctant students in drama class became essential to my survival as a teacher.

Engaging Reluctant Students in Drama Class

However, many teachers have more challenging teaching responsibilities–maybe students were placed in drama because another elective was full. Maybe a counselor needed to balance schedules. Or they thought the class would be easy. Sometimes they believed their friends that informed them that we do is “play games all day”. Whatever the reason, they arrive with crossed arms, nervous smiles, and one clear message: “I am NOT getting on that stage.”

After teaching drama for decades, I’ve learned something important: reluctant students are not the problem. The problem is often the assumption that drama class must immediately begin with performing.

Many students need a different doorway into theater first.

The good news? Modern drama classrooms offer far more than memorizing lines and standing under hot lights. Today’s theater classes can include sound design, podcasting, movement, visual storytelling, technical theater, stage spectacle, improvisation, and creative collaboration. Once reluctant students realize that theater includes all these possibilities, something begins to change.

Beyond Acting: Drama Lessons That Hook Reluctant Students

Engaging Reluctant Students in Drama Class

Let’s begin with low-risk participation,

One of the fastest ways to lose reluctant students is to put them on the spot too quickly. Students who fear embarrassment or  to participate around their friends,  often shut down before they ever discover what drama can actually offer.

Instead, begin with activities that feel safe and collaborative.

 My suggestion? Technical theater!  Since most students have had art class since kindergarten, its concepts are all ready a part of their learning. The first lesson I use at the end of the first week is costume design.  Students enjoy drawing costumes, especially if the teacher leaves it wide open as to what they must design.  I use fairy tale characters, because students are familiar with them.

Next, we study set design for an entire week.  They work individually on their set design idea and then join forces with another classmate to design the set together.  These teams are expected to use ideas from both designs in their model.  Usually, we make the models out of poster board. I discovered early on that they enjoy partnering up with a classmate to create the model.  It encourages them to converse with one another and divide the responsibilities of the model depending upon each person’s talents.

Engaging Reluctant Students in Drama Class

Creating Safe Entry Points Into Drama

After a few weeks of technical theater lessons, the reluctant students should have had enough positive experiences that they are more willing to be a little vulnerable.  Next, I teach movement and tableaux. Middle school students need the exercise after sitting all day in their core classes.  Lessons about movement are non-threatening because usually everyone is able to express their emotion through movement.

Tableaux gives them a chance to work with a group, demonstrating a story’s beginning, middle and end through frozen statues.  If a teacher wants it to be more challenging, they ask each actor to come up with a line their character could say in the scene–just one.  After the tableau is posed, the teacher goes around the group and taps their head.  The student says their line as the character in the tableau.

Reader’s theater and radio theater work especially well because students use scripts rather than memorization. Students can focus on expression, sound effects, or character voices without the pressure of full performance. Some students who refuse to act onstage will enthusiastically perform behind if they are standing by their peers or using a microphone. Additionally, radio theater has technical needs such as a sound effects crew.

These foley technicians get a real thrill out using ordinary objects to make sounds such as horses galloping (coconut halves tapping on a table) or a train as it leaves a station (plastic container of pebbles shook in rhythm becoming faster with each shake).

If you’d like more information about radio theater, check it out here: Top Reasons Teachers Succeed With Teaching Radio Theater

Participation grows when students feel capable.

Engaging Reluctant Students in Drama Class

Use Unusual Units to Spark Curiosity

Not every drama unit has to begin with Shakespeare, Greek theater or scene work. Some of my most successful units with reluctant students have centered around unusual topics that immediately grabbed their attention.

For example, a stage spectacle lesson using The Hunger Games encourages reluctant students in drama class to think about how large-scale effects, costumes, lighting, and movement create excitement for an audience. Students who love movies and popular culture suddenly realize theater involves visual storytelling and design—not just acting.

Movement-based lessons inspired by groups like Mummenschanz allow students to communicate emotion and ideas without speaking at all. Quiet students often thrive in these activities because they remove the pressure of dialogue. Or a teacher can teach them about choreography through a lesson such as the rumble scene in the musical,  The Outsiders. 

Pantomime is another great way to give the shyest students a chance to shine.  By studying a pantomime group such as The Tricicle Theater, students discover that they can be just as successful by not speaking to share a story with their peers as their chatty classmates.

Some of my most enjoy teaching experiences have been when co-teaching with an arts teacher.  Although I have not taught this lesson, I know they’d love Breaking Bach— a hip hop dance and classical music convergence.

Engaging Reluctant Students in Drama Class

Give Reluctant Students in Drama Class Multiple Ways to Succeed

One reason reluctant students in drama class disengage is because they believe drama class measures only one skill: acting ability and memorization.  I know it’s difficult to believe, but some students don’t know what it looks like to memorize a piece of dialogue or a poem.  I have three ways I suggest to students that I’ve found are the most successful ways to memorize something.  Check out:  Three Ways to Memorize Lines for a Play or Musical

Theater has always depended on many different talents. That is one of the reasons I love it so much.  There is a place for everyone in theater.

A successful classroom gives students multiple opportunities to shine: A successful classroom gives students multiple opportunities to shine through collaboration, creativity, problem solving, visual design, storytelling, leadership, movement, and communication

When students realize there is more than one way to succeed, confidence begins to grow. I’ve watched students who initially refused to participate eventually volunteer to be the first person to improvise a story, create sound effects, or write commercials for radio plays. Once they experience success in one area, they become more willing to take risks in another.

Beyond Acting: Drama Lessons That Hook Reluctant Students

Meet Students Where They Are

Today’s students are surrounded by digital media– podcasts, YouTube videos, film franchises, streaming series, and digital storytelling. Drama teachers can use those interests as bridges into theater education. Podcast-style performances, radio drama, multimedia storytelling, and pop-culture-based units help students see theater as something current and relevant rather than distant or intimidating.

Theater classrooms no longer need to look exactly the way they did twenty years ago. In fact, the more flexible and creative we become as educators, the more students we invite into the experience.

Engaging Reluctant Students in Drama Class

The Real Goal

The goal is not to turn hook every reluctant student in drama class is not to turn them into a Broadway actor. It is is to help students discover that theater has a place for them. For some students, that place may be center stage. For others, it may be behind a sound board, designing costumes, creating sound effects, writing scripts, or collaborating with a team. But once students feel seen, safe, and successful, many begin to realize something surprising:

Drama class may have been exactly where they belonged all along.

Directing Youth Theater: 10 Dos and Don’ts

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Directing Youth Theater: 10 Dos and Don’ts

Directing youth theater is one of the most rewarding experiences you can have as an educator or theater arts person. It is also one of the most challenging. Over the years, I directed hundreds of productions and worked with students of all ages, personalities, and ability levels.  Along the way, I learned that successful productions are not built on talent alone. They are built on preparation, patience, leadership, and heart. In this post, I’m sharing 10 practical dos and don’ts I learned from 38 years directing youth theater.

Directing Youth Theater: 10 Dos and Don’ts

1. Begin rehearsal promptly.

Everyone needs to learn that you value their time and yours, too.  Don’t wait for late members to arrive.  Go ahead and begin rehearsal even if half of the cast is missing.  Once they are late once, they will never be late again.  You are teaching everyone what you expect.

Directing Youth Theater: 10 Dos and Don’ts
Honk Jr.

Directing Youth Theater: 10 Dos and Don’ts

2.  Create a Positive First Rehearsal

First impressions matter. Students walk into the first rehearsal excited, nervous, and full of questions. Set the tone immediately with warmth, organization, and enthusiasm.

Explain expectations, introduce the schedule, and help everyone feel welcome.

One of the first things I do in the beginning of rehearsals is to use warm up exercises.  Why?  It gives students, especially the new ones,  a chance to get a feel for the group. Plus, everyone gets over their jitters.  It’s difficult to step into a group of people familiar with each other.

Rehearsals Thrive on Structure, Purpose, and Respect for Time

Usually, at the first rehearsal, I lead a movement exercise.  The second rehearsal I lead a game. One of my favorites is Name Volleyball. This game forces everyone to learn names quickly.    Before the exercise or game I make certain the students understand the reason you selected it. This helps with buy in. If you’d like more information about this game, go to:  Name Volleyball,

Nothing unsettles young actors faster than confusion. Be consistent. If you appear disorganized, they may feel unsure for weeks afterward. If  rehearsals are planned for 6:30 to 8:30 in the evening, you must end at the time you planned. Parents appreciate the forethought.

Additionally, I only call cast members who are needed for scenes involving large groups. Usually, I get them settled into the blocking first then at the second rehearsal of the scene I  concentrate on the chorus.  That way, there is less downtime for those in smaller roles.

Directing Youth Theater: 10 Dos and Don’ts
The Miracle Worker

Directing Youth Theater: 10 Dos and Don’ts

3. Cast with Care

This is one of the most challenging issues you’ll have.  If you announce everyone will have a chance to read three times, then you must stick to that plan .  Students notice fairness. Additionally, they also observe who reads the most in call backs.  At this point, you are already communicating that you are leaning toward a particular person for a role.  Usually, I have someone who sits with me and marks on a list every time someone reads.  That way, we have a record incase you have a disgruntled auditioner. Be thoughtful, consistent, and encouraging during auditions and callbacks. Do your best to give everyone the same amount of attention.

Whenever possible, find ways for every student to feel valued. I like to double cast productions if I have enough people.  If you’d like to know more about how I double cast, check out: Double Casting a Show? Here’s Advice. Nothing damages morale faster than obvious favoritism. Every student deserves respect and attention, whether they have one line or fifty.

Students can be excited and aren’t always aware that others need your attention, too.  Decide how you’ll hand that ahead of time.  I ask my casts to arrive as early as thirty minutes before rehearsals and use that time for socializing or speaking to me if need be. Then I begin promptly.

Directing Youth Theater: 10 Dos and Don’ts
Willy Wonka, Jr.

4. Keep Rehearsals Moving

Young performers thrive when rehearsals are active and purposeful. Plan transitions, have materials ready, and keep downtime limited. If you focus rehearsal for over thirty minutes, students need a little break before they continue.

Momentum builds confidence. The cast begins to depend upon your expectations and this builds their overall confidence.

Additionally, I pre-block my productions whenever possible. Sometimes, I have the cast write in their blocking before we even stage the scene. One of my biggest pet peeves is expecting young people to know how to block themselves. If a cast needs it, I demonstrate the blocking or walk the movements with them so they understand what I want. They are also expected to practice their lines and blocking at home. Remember: you are teaching them everything—from how to rehearse to how to enter for their curtain call.

5. Teach the Inner Workings of Performing

As mentioned above, many students need to be taught what it looks like to be a part of a production.  This includes learning how to wait quietly backstage, hold a script properly, or take notes graciously. Important quick lessons about the reasons to leave props alone is always mentioned.  Also, I mentioned that although it is very inviting to spin oneself in the stage curtain or to give unwarranted suggestions they aren’t allowed. 🙂

 I like the stage to be swept before I begin rehearsals.  Usually, there’s a student very willing to do so. I expect the lady characters to wear character shoes when rehearsing if they will be wearing them in the show.  If the males are to wear cowboy boots, I ask them to purchase them as soon as possible so they can become accustomed to wearing them. If a girl wears a long skirt in the show, I ask her to rehearse in a long skirt. Two reasons for this–it helps them to learn how to move gracefully and also builds the character without even having to remind them. 

Directing Youth Theater: 10 Dos and Don’ts
Alice In Wonderland, Jr.

6. Praise Effort and Growth

Not every child will be the strongest singer or actor, but every child can grow. That is the real work of directing—teaching students to stretch themselves, take chances, and keep improving. Celebrate effort, teamwork, bravery, and persistence.

Be careful not to overpraise when directing youth theater. If a group scene feels weak, it is perfectly acceptable to say, “That wasn’t our best. I think we can do much better with that dance number. Let’s try again.” By including yourself, students see that you share responsibility for what needs improvement and that you are still supporting them as they learn.

Recognition Should Be Earned, Thoughtful, and Shared by All

If only the naturally gifted receive recognition, others may feel invisible. I don’t compliment until the show is up. However,  I laugh and smile during rehearsal and praise them.  Some students only work up to their potential if you are constantly praising them.  You don’t want to get into the habit of having to compliment someone just to convince them to do their best.  Teach them that hard work is its own reward.

A great director notices and gives attention to everyone. If the cast is large, you could give a positive note to a few students at each rehearsal. These notes can be as simple as, “Sarah, I saw you react to John realistically. Keep that.  John your best moment was when you angrily trudged up the staircase. I could tell your character was very angry. ” Students appreciate being noticed and understand you are trying to give everyone a pat on the back. 

Directing Youth Theater: 10 Dos and Don’ts
Aladdin Jr.

7.  Communicate Clearly with Parents

Parents can be your greatest allies when you keep them informed. Thanks to email and group communication apps. it’s easy to send schedules, costume needs, expectations, and updates early. By the time you are into rehearsals, you should know everyone’s conflicts if they have them.  Also, I don’t work around conflicts unless I absolutely have to do so.  That’s why I like to double cast!  There is usually one of the actors present who can rehearse the scene

Clear communication prevents unnecessary stress. Confusion about rehearsal times, tickets, or costumes can quickly create frustration. Delegate all the extra jobs as much as you can.  Inform everyone to communicate with the chair heads if they have a question.  Just this one thing will save you loads of time.

8. Build an Ensemble Spirit

 Everyone  understands that every role matters. Leads, chorus, backstage helpers, and crew all contribute to success.

If possible,  require every cast member to spend some time working on the production.  I encourage them to attend set construction time, volunteer to sew on a costume or collect props for the properties mistress.

Directing Youth Theater: 10 Dos and Don’ts
The Music Man, Jr.

9. Keep Productions Age Appropriate

When directing youth theater, always choose material that fits your cast emotionally, vocally, and developmentally. Remember this is about them, not you.  Some directors over pick their production. They have selfish reasons which have nothing to do with the students. I can always tell which director has their head in the game and who is directing to get kudos afterward.  Check out these posts if you want some tried and true  plays that are always successful when I direct them: 8 Middle School Plays That Work Every Time. Success builds confidence. However, the “big title” is not always the best title for your students.

10. Lead Them with Respect

In my thirty-seven years of directing youth theater, I can’t think of one time when cast members bullied another cast member. Even small moments of teasing or unsafe behavior should be addressed quickly and calmly. For some students this is their foray into being a part of a team. We don’t want students to never be involved again because someone made them feel lesser than.

Directing Youth Theater: 10 Dos and Don’ts
Seussical Jr.

 Remember Why Theater Matters

Youth theater builds confidence, empathy, creativity, discipline, and joy. Some students may never perform again after your show. Others may discover a lifelong passion. Either way, you are making a difference.

A good quote for everyone to memorize is, “We strive for perfection, but prepare for errors.” A missed cue or crooked hat will be forgotten. The confidence a child gains on your stage may last forever. Pick up this FREE research lesson about Cynthia Erivo.

Directing Youth Theater: 10 Dos and Don’ts
Alice in Wonderland, Jr.

Final Thoughts

Great youth theater directors are not simply producing shows—they are shaping young people.

Here’s a story I’ll never forget. One of my middle school students, a very shy girl, volunteered to be my assistant director for a junior version of The Music Man, Jr. When we came up short on cast members for the school board scene, I asked her to take a role. Later, I learned she went home crying because she was certain she would fail.

Instead, she faced her fears and discovered she could perform and entertain an audience. She loved it. Over the next several years, she grew into a confident performer and graduated the program after playing Ariel in The Little Mermaid. She later earned a BFA in performance and now directs and performs around the Kansas City area.

When directing youth theater, sometimes the greatest success story is not the standing ovation—it is the shy child who finally finds their voice.

What advice do you have for a new director? I’d love to learn about it.  Feel free to email me at DhcBaldwin@gmail.com

Directing Youth Theater: 10 Dos and Don’ts
Schoolhouse Rock, Jr.

Teach Playwriting with Norman Rockwell Paintings

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Teach Playwriting with Norman Rockwell Paintings

When I taught playwriting, one of the biggest challenges was helping students move past the blank page. That’s why I began to teach playwriting with Norman Rockwell paintings, using images filled with character, emotion, and story to spark student ideas. Instead of asking students to invent everything from scratch, I gave them a moment already in progress—and suddenly, writing dialogue didn’t feel so overwhelming. This approach works just as well in an ELA classroom as it does in drama, making it a flexible option for interdisciplinary teaching.

File:Norman Rockwell Pardon Me.jpg

Teach Playwriting with Norman Rockwell Paintings

Norman Rockwell was a famous American illustrator best known for his warm, detailed paintings that captured everyday life in the United States. His work often appeared on the covers of The Saturday Evening Post, where he told visual stories about family, community, and American values.

Rockwell’s art is known for its realism, humor, and emotion. Some of his most famous works, like Rosie the Riveter and The Problem We All Live With, also reflected important social issues of his time.

He remains one of America’s most beloved artists because his paintings feel like snapshots of real life—making viewers both smile and think.

Teach Playwriting with Norman Rockwell Paintings

Why This Lesson Works So Well

This approach removes the pressure of traditional playwriting by giving students:

  • A clear setting
  • Built-in characters
  • An immediate conflict to explore

This method keeps it non-threatening for the students.  You  aren’t giving them a blank page of paper and saying, “Okay, let’s playwright today.” They are stepping into a story that’s already begun.

Even better, this lesson is designed to be confidence-building, making it ideal for reluctant writers and performers. Plus, the  playwriting lesson using Norman Rockwell paintings supports both drama and ELA learning goals.

👉 Students aren’t asked to create from nothing—they’re asked to continue a story already in motion.

File:Norman Rockwell - Boy with Baby Carriage - Google Art Project.jpg

Why Postcards Make This Even Better

This is a three day lesson, although you could teach the entire lesson in one day. Fortunately, you don’t need anything fancy to make this work.

In fact, I often use postcard-sized prints of Rockwell’s paintings. You can purchase sets or simply print and cut them yourself. If you have the budget for it, I highly recommend you purchase these postcards. Norman Rockwell paintings postcards. They run around $15.00 for 24.  There are various sets of these.

There’s something about handing a student a physical image that makes it easier.  Not everyone can imagine a scene on their own.

It feels:

  • Manageable
  • Personal
  • Inspiring

I’ve seen students dive right into this lesson because they were easily inspired by the art.  That is what you want–instant interest and engagement.

Teach Playwriting with Norman Rockwell Paintings

How I Use This Lesson in My Classroom

Day 1: Image Exploration

Students study their painting and respond to questions such as:

  • Who are these people?
  • What is happening in this moment?
  • What might have just happened before this scene?

Day 2: Character & Conflict

Students develop:

  • Character backstories
  • Relationships
  • A clear conflict

On day two, give students a different painting.  Help them to write short backstories about the characters.  Also, they should establish the conflict.  This can be as simple as man versus man or the  conflict could be about a little girl wants to go to school, but can’t without the men’s help.

https://upload.wikimedia.org/wikipedia/en/e/ed/The-problem-we-all-live-with-norman-rockwell.jpg

Day 3: Writing the Scene

Students write a short scripted scene using dialogue. Expect about a page in length.  It’s wise to give them an example, too so they know what you are expecting. Pick up this example to show them: Norman Rockwell Scene Example

This is where the magic happens—because they already understand the situation, the dialogue comes more naturally.

Day 4 (Optional): Sharing or Performance

Students can:

  • Read their scenes aloud
  • Perform them
  • Or share in small groups

 

Norman Rockwell's “Four Freedoms” | Inside the MFAH | The Museum of Fine Arts, Houston

Why Students Respond So Well

I’ve always enjoyed teaching this lesson because it meets students where they are. Consequently, if students can relate to a lesson, they are more likely to be successful. In the same way, I like to direct students in plays or musicals where they get to be kids like them.  Check out:  Ten Reasons Why Everyone Produces Anne of Green Gables

  • Visual learners have an immediate entry point
  • Reluctant writers feel supported
  • Creative students expand the story in unique ways

Furthermore, because every student receives a different image, the variety of scenes is always engaging. My advice is to process after each scene and discuss its assets.  Plus, You could use this lesson many times during the school years by using other painters art.  Some other artists you would use are Edward Hopper, Grant Wood and Jacob Lawrence.

Edward Hopper Nighthawks Iconic Painting Art Print Framed Poster Wall Decor 12x16 inch

by Edward Hopper

A Flexible Lesson You Can Use Anytime

This activity works beautifully as:

  • A playwriting introduction
  • A creative writing extension
  • A sub plan
  • Or part of a larger drama unit

As I’ve mentioned it’s simple to implement—and easy to revisit throughout the year with different images. Or you can leave for a substitute to teach!  It’s remarkably useful and versatile.

Drama Playwriting Devising Theater Lesson Norman Rockwell Dialogue Improvisation

Want a Ready-to-Use Version?

If you’d like a structured version of this lesson—with warm-up, guiding questions, and student handouts—you can find it in my Dramamommaspeaks resources.

In conclusion, by using artwork like Norman Rockwell’s as a starting point, students begin to see that stories are everywhere—not just on the stage, but in everyday moments. With just an image and a little imagination, even reluctant writers can find their voice and bring a scene to life.

Why Masks Help Reluctant Students Shine in Drama Class

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Why Masks Help Reluctant Students Shine in Drama Class

There was always room for creativity in my drama classroom. That is part of my mission—to approach theater from every angle, not just through acting. And like every drama teacher, I knew that student—the one who quietly hoped I wouldn’t call on them. They avoided eye contact, sank into their chair during improv, and whispered, “I don’t want to perform.”

Working with reluctant students in drama class can be one of the biggest challenges—and one of the most rewarding opportunities—for any theater teacher. Moments like these are exactly why masks can make such a difference. When used thoughtfully, masks help reluctant students feel safer, more confident, and more willing to participate. And you are not alone in using them, either.  The use of masks in performance has a long history in theater, as highlighted by The Kennedy Center.

The same student who hesitated to speak suddenly becomes curious, expressive, and willing to try. The mask becomes a kind of shield—one that actually frees them to participate.

Masks aren’t just theatrical props. Here’s the trick–Since it appears to be more of  an art project, they don’t equate it with performing.

Why Masks Help Reluctant Students Shine in Drama Class

Why Masks Help Reluctant Students in Drama Class Participate

According to Edutopia, creating a safe and supportive classroom environment is key to increasing student participation. Let’s consider the ways that masks nurture reluctant students in drama class:

1. Masks Provide Emotional Safety

One of the biggest barriers for hesitant students is the fear of being judged.

When students wear a mask, the focus shifts away from them and onto the character.

Students often feel:

  • Less self-conscious

  • Less worried about facial expressions

  • More comfortable taking risks

In many ways, the mask gives them permission to say, “That wasn’t me—it was the character.” To be truthful, that is one of the reasons I love to act.  I can portray characters that I simply can’t be in real life. I make bold choices when developing the character because it is someone else in my mind, not me. 

Students are familiar with masks.  Usually, students make masks in elementary school several times–either in art class or decorating a mask for Halloween.  Masks are kid-friendly!

Why Masks Help Reluctant Students Shine in Drama Class

2. Masks Encourage Physical Storytelling

Because facial expressions are hidden, students must communicate using:

  • Body language–The body can communicate feelings more easily than saying them. 

  • Gesture–A firm gesture or a soft one gives the character an extra dash of characterization

  • Movement–We can’t forget movement!  Usually, one of the first rehearsals my student spend moving around the space like their character. Does he limp?  Does she walk with her nose facing the floor? 

  • Posture–A simple change in one’s posture can say as much as a line.  Tip your head up and the character demonstrates arrogance.  Or tip your head down to show you are bashful.

This helps reluctant performers discover that acting isn’t just about speaking loudly or memorizing lines. They can tell a story through movement alone.

For shy students, this can feel far less intimidating than traditional acting.

3. Masks Build Ensemble Work

Masks level the playing field.  When everyone is wearing a mask, students feel like part of a group rather than individuals being singled out. This is probably the most important reason students are successful when wearing a mask. I can’t think of a time when a student wouldn’t want to wear their mask unless they were displeased with how it turn out. 

This creates:

  • Stronger ensemble awareness

  • Shared creativity–If Susan comes up with making long curly eye lashes and large lips for her mask, Ashley might use the same idea. 

  • Reduced fear of standing out–Middle schoolers change drastically from the beginning of sixth grade to finishing eighth grade.  Although they want to be individuals,  at this point in their lives, they are more concerned with being part of a group. 

It levels the playing field. Even confident performers must rely on the same tools as everyone else. In addition, as you might expect, I’ve found that some students are excellent artists. Perhaps they are introvertive around others, but express themselves beautifully through the mask. Once they put on their mask, sometimes they are seen for the first time in my class.

4. Masks Spark Imagination

Masks invite students to ask questions like:

  • Who is this character? Are they proud, mean, angry or gentle?

  • How do they move? Do they move with purpose, slither around or pounce on others?

  • What kind of world do they live in? Is their world full of others they can’t trust?  Or are they relaxed in a peaceful setting? 

Suddenly the classroom becomes a creative playground where students experiment without worrying about getting it “right.”

If you’d like lessons about acting methods, check out:  Uta Hagen Acting Styles Method

5. Masks Help Students Discover Confidence

Over time, something remarkable happens. Students who once hid behind the mask begin to realize they can perform. Many teachers notice that after several mask activities, students become more willing to perform without the mask. Consequently, the mask becomes a bridge to confidence.

reluctant students in drama class using masks

Ready-to-Use Paper Masks for Your Next Drama Lesson

Arts-based strategies, supported by organizations like the National Endowment for the Arts, can help students engage in new and meaningful ways. Many years ago, I ran upon an art supply company who has masks I ordered several times.  The S and S World Wide Arts Supply  is where I’d begin.  Check out their paper masks:  Color Me Cardstock Masks. These masks are precut with opening cut for the eyes, mouth and nose. Note: You will need to purchase thin elastic to use around the students’ heads. Your students can use markers on them or cover them with construction paper.

If you teach elementary aged students, check out Blank Animal Masks.  Or pick up an Animal Masks Craft Kit .  They are larger than the animal masks but have features printed on them, such as teeth, whiskers, noses and ears.

Blick Art Supply carries a few different masks.  Creativity Street Paper Mache Masks. Also, Creativity Street Pulps Masks are versatile and different from the other company.  Look for bulk pricing.  Lastly, look at Roylco Fold up Fun Mask. You receive 40 masks in one kit!

Simple Mask Activities to Try

Here are a few easy ways to introduce masks in your drama classroom.  Here’s a tip–I always play classical music in the background and even turn the classroom lights down low.  Both things help everyone to concentrate and release their inhibitions. 

1. Silent Mask Walk
Students walk around the room exploring different characters through posture and movement.

2. Emotion Switch
Call out emotions and have students express them using only body language.

3. Mask Tableau
Students freeze in group pictures that tell a story.

4. Mask Story Circle
Students add one movement at a time to create a group story. 

Masks can make such a difference, especially for students who need a little extra confidence. If you’re interested, I’ve put together a couple of mask resources—Woodland Creatures and Superhero Masks—that are easy to use and student-friendly.

👉 You can check them out here. Masks on Dramamommaspeaks

Final Thought

Masks are a powerful tool for engaging reluctant students in drama class. For some students, drama can feel like standing under a spotlight. But sometimes all they need is a mask.

Behind that mask, students discover the freedom to move, imagine, and participate in ways they never expected.

And before long, they realize the courage was inside them all along.

How have you reached reluctant students in your drama classroom? I’d love to hear what’s worked for you. Email me at DhcBaldwin@gmail.com

Why Masks Help Reluctant Students Shine in Drama Class

Black Theater Artists to Explore: Beyond the Famous

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Black Theater Artists to Explore: Beyond the Famous

It’s February — and if you’re like many drama teachers, you’re balancing packed schedules while trying to make Black History Month meaningful and authentic for your students. Over the years, I’ve noticed the same pattern: we want to go beyond the familiar names but aren’t always sure where to begin. That’s exactly why I’m sharing today’s post, Black Theater Artists to Explore: Beyond the Famous

We want to turn to the artists we know our students should recognize — powerful figures like August Wilson, Lorraine Hansberry, and James Earl Jones. And those voices absolutely deserve the spotlight.

But after decades of teaching drama, I’ve discovered something that surprises students every time: the real spark often happens when they meet artists they’ve never heard of before. Suddenly, theater history stops feeling like a list of famous names and starts feeling alive, diverse, and full of discovery.

When we expand beyond the familiar, we don’t just teach history — we open doors to new creative possibilities for our students. Therein, lies the one of the keys to engaging our students!

Why Introduce Lesser-Known Black Theater Artists?

When students see only a few repeated figures in theater history, they may assume the field is limited or fixed.

Introducing a wider range of artists helps students:

  • understand that theater history is constantly evolving–new artists rise to prominence such as Michael B. Jordan and Cynthia Erivo

  • explore different styles and storytelling approaches

  • discover diverse pathways into theater careers– learn about directing, design, choreography, stage management, or technical theater roles they never knew existed

  • feel a stronger sense of connection and representation–Oh hello!  If a student admires a particular theater artist, they may emulate and reach higher in their pursuits.

And honestly? It keeps your curriculum fresh and engaging — for you and for your students. This isn’t spoke about enough and it’s gigantically important!

Black Theater Artists to Explore: Beyond the Famous

Vinnette Carroll: Breaking Barriers in Musical Theater

Vinnette Carroll (1922-2002) made history as the first Black woman to direct on Broadway, but her impact goes far beyond that milestone.

She helped shape gospel musical theater through productions like Your Arms Too Short to Box with God, blending spiritual music traditions with theatrical storytelling in a way that felt both culturally rooted and innovative.

Classroom connection:

Ask students to examine how music traditions influence storytelling. How does gospel performance differ from traditional Broadway musical styles? Students compare two different music styles such as gospel and traditional musical. Then they create a short performance style of both.

Black Theater Artists to Explore: Beyond the Famous

Loften Mitchell: Preserving and Advancing Black Theater History

Playwright and historian Loften Mitchell used theater to explore civil rights themes and African American identity while also documenting theater history itself.  Mitchell was a principal writer/creator (book and concept of Bubblin’ Brown Sugar).

Students often don’t realize that preserving theater history is an active process — and Mitchell’s work shows how artists can be both creators and historians.

Theatre reflects the world around it. Understanding historical context helps students recognize why certain dramatic themes emerge and how artists use storytelling to respond to their time.

Classroom connection:

Assign students t research how historical events influence dramatic themes. What stories emerge from specific moments in history? Students explore a particular time in history and create a play concept for the issues of that time period. That’s fascinating, creative stuff.

Black Theater Artists to Explore: Beyond the Famous

Adrienne Kennedy: Expanding What Theater Can Look Like

Adrienne Kennedy challenges traditional storytelling through experimental structure and powerful imagery. Her work invites audiences into psychological and symbolic worlds rather than linear narratives.

Students who think theater must follow a strict format are often fascinated when they encounter her style.

Classroom connection:

Invite students to create a short non-linear scene or monologue inspired by emotional imagery rather than plot. Students create a thirty or sixty second monologue or scene based on an emotional image. (Such as rain falling while someone laughs.)

Black Theater Artists to Explore: Beyond the Famous

Camille A. Brown: Movement as Narrative

Choreographer Camille A. Brown demonstrates how dance and movement traditions can serve as storytelling tools within theater.

Her work reminds students that performance isn’t limited to spoken dialogue — movement can communicate character, emotion, and history. Check out this Youtube clip: Camille A. Brown Film

Classroom connection:

Explore how gesture, rhythm, or social dance styles communicate meaning without words. A teacher could assign a group a particular word such as “struggle” and students choreograph 10-15 second movement as they envision the word.

Black Theater Artists to Explore: Beyond the Famous

Robert O’Hara: Reimagining Classic Forms

Robert O’Hara’s directing and playwriting reexamine traditional theatrical structures through contemporary perspectives.

Introducing artists like O’Hara helps students understand that theater is not static — it evolves with each generation.

Classroom connection:

Ask students how classic stories could be reimagined for today’s audiences. Into the Woods is a good example as is The Outsiders or The Wiz. Challenge students to choose a book, myth, or well-known story and develop their own theatrical concept.  Check out:  Create Your Own Musical Unit

Black Theater Artists to Explore: Beyond the Famous

Simple Ways to Bring These Artists Into Your Drama Classroom

Now, before you become overwhelmed by all of this, rest easy.  I’m here to help you! You don’t need an entire unit to expand representation in your curriculum. Try:

  • Quick biography warm-ups–One-Minute Opinion Line is a great one for this

  • One-day research activities–Students collect facts on the artist and create a one-pager assignment about them. Here’s one for Denzel Washington as an example.

  • Creative response assignments–A Director/Concept Production board can reflect the artist easily, especially for the reluctant

  • Movement or design explorations inspired by the artist–Choreographing similar to  Camille A. Brown’s style or designing a set for one of the playwright’s plays

Small additions can have a big impact on how students understand theater history.

Final Thoughts

I wish I’d had all of these idea when I first began teaching. However, at least I can help you with this blog post, Black Theater Artists to Explore: Beyond the Famous.  To be honest, I never had the time to create my biography research lessons until recently.  Black History Month is a powerful opportunity to celebrate theater legends — but it’s also a chance to expand the spotlight.

When students discover artists they didn’t know existed, something shifts. Theater becomes bigger. More inclusive. More exciting.

And that sense of discovery? That’s where real learning begins. It’s exciting!

My advice:  Start small. Choose one familiar story and challenge your students to reinvent it for today’s audience. You may be surprised at how quickly students move from hesitant ideas to bold theatrical choices.

If you’d like ready-to-use lessons that guide students through adaptation, creative storytelling, and theatrical exploration, I’ve created classroom-tested Dramamommaspeaks resources designed to make planning easier while keeping creativity at the center. You can explore them here: Dramamommaspeaks 

Deb

Deb directing The Miracle Worker

Link:  Amazon.com

How to Teach Research in Drama Class the Easy Way

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I’ve taught drama long enough to see the pattern—students come alive during movement, voice, and collaboration, but hesitate when it’s time to open a book or dig into background research. How to Teach Research in Drama Class the Easy Way  grew out of that exact challenge, offering ways to turn research into a creative tool rather than a roadblock.  The most meaningful research your students will ever do can happen while they are designing a set, building a character’s backstory, or discovering why a playwright made a certain artistic choice.

This post is for drama teachers who want their students to think like theater artists, not worksheet completers.

How to Teach Research in Drama Class the Easy Way

What “Arts Research” Really Means in Drama

When we talk about research in a drama class, we’re not talking about term papers. (Aren’t we all relieved?) We’re talking about students learning to:

  • Investigate who created a piece and why
  • Explore historical, artistic, and production context
  • Analyze design and performance choices
  • Make creative decisions based on evidence

In professional theater, every actor, designer, and director researches before they ever step into rehearsal. Onr of my favorite videos is one about the choreography in The Outsiders musical.

The Broadway musical’s choreography (by Rick Kuperman and Jeff Kuperman) leans heavily into physical storytelling. Instead of flashy, traditional musical theater dance, the movement feels grounded, gritty, and character-driven — much like the novel itself. The ensemble often moves as a collective body, showing the tension between the Greasers and the Socs through posture, spacing, and physical levels rather than words alone.

One of the most talked-about elements is how the choreography blends stage combat, gesture, and balletic movement, especially in moments like the rumble. The fight sequences aren’t just about action — they’re carefully shaped to reveal power, fear, loyalty, and class division. Even stillness is used as choreography, with characters freezing  (tableau)  or isolating themselves in space to highlight emotional shifts.

High school students are often drawn to The Outsiders because its bold movement and confrontational moments invite discussion about how violence, loyalty, and social class are represented through performance rather than just dialogue.

How to Teach Research in Drama Class the Easy Way

1. Research Through Character, Not a Report

Instead of assigning “Write a paragraph about this character,” try reframing research as discovery work.

Classroom Strategy

Have students create a one-page “Character Research File” that includes:

  • Time period and social setting
  • Personal history (What happened before the story begins?)
  • Relationships and power dynamics
  • One real-world comparison or historical connection

Then, ask them to perform one choice that came from their research. For example, if they choose time period ( such as the 1920s) and social setting, they could demonstrate the time period through dance, pantomime and movement.

Now the research has a purpose. I think everyone thrives and is inspired when there is a purpose in a learning objective.

How to Teach Research in Drama Class the Easy Way
BrandonDavis.com

2. Design-Based Research (Set, Costume and Sound)

Design is one of the easiest ways to sneak research into drama class—because students already love it. Check out this blog post: The Five Reasons Your Students Will Love Set Design

Set Design

  • Research real locations, architecture styles, or historical spaces
  • Justify design choices with evidence

For example, in a 2000s New York City setting, the color palette often leans toward cool, industrial, and artificial tones—grays from concrete and steel, black asphalt, bright neon signage, LED blues, and the sharp whites of storefront lighting. These colors reflect a fast-paced, urban environment shaped by technology, advertising, and modern architecture.

By contrast, a Native American community in the 1800s would be represented through earth-based, natural colors—warm browns, clay reds, soft tans, sage greens, sky blues, and muted yellows drawn from the landscape, natural dyes, and materials like hide, wood, and woven fibers. These tones connect visually to the land, seasons, and cultural traditions rather than manufactured light and modern industry.

Students could create design boards displaying both and share their opinions with the class in a formal assessment.

Costume Design

  • Explore clothing styles by era or culture
  • Explain how color, fabric, and shape communicate character

Color, fabric, and shape act as visual storytelling tools.
Color can signal emotion or status—dark tones often suggest power or conflict, while lighter colors can suggest innocence or calm. Fabric reflects lifestyle—heavy materials like denim or wool hint at physical work or toughness, while light, flowing fabrics suggest comfort or wealth. Shape reveals personality—sharp, structured silhouettes can feel rigid or authoritative, while soft, rounded shapes feel open or vulnerable.

Together, these choices help students explain not just what a character wears, but what it tells the audience about who they are. 

Sound & Foley

  • Research how sound effects were created in classic radio theater
  • Test and compare materials for realism

You’ll hear students say things like:

“I chose this because I found out that…”

That’s research happening naturally. Plus, it’s less stressful.  We want every students to feel comfortable in our classroom.

Photo 2

3. Musical Theater as an Arts Research Goldmine

Musicals are packed with built-in research opportunities.

Students can explore:

  • The composer and lyricist’s background
  • The source material (novel, play, memoir, or folklore)
  • The time and culture in which the show was created
  • Why certain themes still resonate today

One reason certain themes remain powerful in musical theater is that they mirror challenges students still face today. Take the theme of belonging—from West Side Story to The Outsiders to Dear Evan Hansen, characters struggle to find their place in a group, a family, or a community.

Even as settings and music styles change, the core question stays the same: Where do I fit? That emotional throughline keeps these stories relevant, allowing each new generation of students to see their own experiences reflected on stage. If you’d like pick up study guides of these musicals through my store: Dramamommaspeaks

Try This

Have students answer one guiding question before performing or reading:

“What did the creators want the audience to feel, and how did their artistic choices help make that happen?”

Suddenly, students are researching like directors, not students.

How to Teach Research in Drama Class the Easy Way

4. Research Through Voice: Radio Theater & Tableaux

Some students freeze when they’re asked to “act.” We’d all agree we don’t want that for them. However, research gives them a different entry point.

Radio Theater

  • Research how early radio performers used voice and sound
  • Compare modern audio storytelling to classic broadcasts

Modern audio storytelling—like podcasts and streamed audio dramas—uses layered sound design, digital effects, and intimate microphone work to create a cinematic feel. While classic radio broadcasts relied on live Foley effects, simple music cues, and strong vocal performance to spark the listener’s imagination. Both approaches tell stories through sound, but the tools and technology shape how the audience experiences the world being created.

By the way, I’d advise you to add radio theater to your lesson plans.  You simply can’t go wrong with it.  Check out this post: Top Reasons Teachers Succeed With Teaching Radio Theater

How to Teach Research in Drama Class the Easy Way

Tableaux

Let’s say you have a group of students with diverse learning needs.  Remember, everyone can find a home for themselves in theater.  We just have to help them find their happy place. Students who need differentiation always shine in demonstrating tableaux.

  • Research historical photos or artwork
  • Recreate the moment using frozen images

These approaches let students show what they learned instead of writing it. 

How to Teach Research in Drama Class the Easy Way

5. Turning Research in Drama Class Into Reflection, Not Recitation

Instead of multiple-choice questions, try reflection prompts like:

  • What surprised you during your research?
  • What choice would you change if you were directing this piece?
  • What does this story say about the time it was created?

Reflection turns information into understanding. Additionally, reflection is non-threatening and something most students can learn to use in everything they do.  If nothing else, teaching them to reflect after attending a play or musical encourages them to think long after the curtain has gone down. 

How to Teach Research in Drama Class the Easy Way

A Simple Structure You Can Reuse All Year

I do my best to keep my lessons simple in nature for a teacher to teach. Here’s a “research in drama class” teacher-tested flow you can use with research in drama class with almost any drama lesson:

  1. Explore – Introduce the play, musical, or concept
  2. Investigate – Students research one focused question
  3. Create – Students apply what they learned
  4. Share – Perform, present, or display
  5. Reflect – Discuss what the research changed

This keeps research active, not passive.

How to Teach Research in Drama Class the Easy Way

Why This Matters for Reluctant Learners

You know you are reaching your objectives when students research for a creative purpose, they stop asking:

“How long does this have to be?”

And start asking:

“Can I change this idea?”

It often begins with a simple shift in thinking. When a student starts asking, “Can I change this idea?” that question alone signals that research is doing its job. It has sparked curiosity, reflection, and ownership of the work. Rather than looking for a single “right answer,” the student is weighing possibilities and making informed choices. You will find that your gifted/talented students will groove on coming up with a unique idea. It always occurs.

This is where differentiation becomes essential. Some students may explore through reading and note-taking, others through images, movement, or discussion. By offering multiple pathways into the same concept, you allow every learner—regardless of ability or confidence level—to engage meaningfully and move the idea forward in their own way.

That’s when learning sticks and it’s exciting!

Research in Drama Classroom Takeaway

Remember, research in drama doesn’t belong in a packet.

It belongs in:

  • Design boards
  • Actor notebooks
  • Sound tables
  • Director’s notes
  • And student performances

When students see themselves as artists-in-training, research becomes part of the process—not a chore.

If you’re looking for ready-made lessons that combine arts research, close reading, and creative application, many of my Dramamommaspeaks musical study guides and radio theater units are designed with this exact approach in mind.

Have you assigned research type projects to your students? What did they select? How did it go for them? I’d love to hear your thoughts.  Contact me at DhcBaldwin@gmail.com

Deb

Working with students at Presser Performing Arts Center