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Critical Steps in Producing a Play or Musical: Set Design

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Critical Steps in Producing a Play or Musical: Set Design 

Critical Steps in Producing a Play or Musical: Set Design

 

 

 

 

 

 

 

Let’s talk about critical steps in producing a play or musical, shall we?  I think a powerful, creative, unique set design is vital to a production.  Depending upon the production budget (there’s that word again-it’s going to come up a lot in these blog posts), the set can be as elaborate as possible or simple.

If a director has the freedom to choose what she wants, always keep in mind that old adage, “Less is more”.  Personally, I think a set can distract the audience from the production if one isn’t careful.  On the other hand, a simple set can be distracting as well especially if one’s actors aren’t skilled in creating the atmosphere themselves.  A skilled actor should be able to imagine the setting and demonstrate it through character and movement. As you might expect, I’m partial to one person in particular–my husband who designed sets for me many times.  (He designed the set you see below in the photo of The Diary of Anne Frank.)

Your Director’s Concept

First, you need to know whether a designer has been hired or volunteered to design your set.  If so, then you are generally stuck (and I do mean stuck) with that person.  I’ve worked with good ones, lazy ones, entitled ones and very creative-but-can-not-get-it done ones. 

If you are lucky, the designer will have ideas of his own and share them with you and vice versa. As I mentioned in the previous post, have your concept board handy to share with him.

If you are expected to design your own set, start by researching on the internet.  As you find ideas (probably from other companies’ productions of the show), you might want to make a copy of them.  Note:  I am going to say this one time.  If you are capable enough to direct the show then you are capable enough to come up with your own ideas for the set.  It is just tacky to lift (steal, copy or what have you) someone else’s design.  It isn’t polite, it certainly isn’t unique and it isn’t right.

I expect the designer to create a model of the set for me.  In fact, I require it.  Most humans are visual thinkers and consequently it helps the actors (and everyone involved for that matter) in their visualization of the show. As well, it aids me when I am blocking.  I remember directing Something’s Afoot and its first musical number is chaotic and busy.  Characters are entering and exiting one right after another.  The model helped me to keep straight everyone as I placed little spice bottles with each character’s name in the right places.

Critical Steps in Producing a Play or Musical: Set Design

The Diary of Anne Frank   Fine Arts Guild of the Rockies  2012

Ah, The Set Budget!

Set, costumes and stage properties budgets are the most challenging to estimate. If you are in charge of the budget, you will first need an inventory of the company’s set pieces (flats, platforms, stair units, etc.)   Are you thinking of using a scrim?  Does the company own a scrim?  If not, will they purchase one for you?  Would you rather have a stylistic set? What are using projections? Does the venue have the equipment to do so?

That’s a good idea, especially is there is little  money for the set. Is the production a period piece?  You need to consider that question, too. There’s many more questions to ask yourself, but you get the idea…

Critical Steps in Producing a Play or Musical: Set Design
The Giver Fine Arts Guild of the Rockies 2005

The Designer’s Job

If  I have a designer, it’s there responsibility  to create a line item budget.  Generally, designers (costumes too) ask for a color pallet from me.  It’s fairly easy to share my choices using my concept board which I created before the project began. 

There is something very special in having the pleasure to direct on a great looking set. Everyone feels it.  However, some of my most favorite are simpler ones like The Giver (photographed above).  It was understated, perfectly suited the play’s message and met the budget requirements.

Recently, I directed The Wizard of Oz (my first time ever, I know–better late than never).  It was important to me that we stayed away from the  movie version as much as possible.  For countless hours, my designer and I discussed how to create the set on a very limited budget, build it with inexperienced students all the while giving the audience something to imagine and enjoy.  The tornado and its metaphoric moments within the story was our thrust.

We used bicycle wheels, barbed wire and fence posts to create the witch’s lair. Additionally, it was stark looking which was our goal. 

Critical Steps in Producing a Play or Musical: Set Design

Get Organized

If you take the time to pre-plan every aspect of a production, it will save you time later.  Trust me, I have gone into rehearsals thinking I could be spontaneous and think out details as I rehearsed.  Admitting this to you now, I realized this is a ridiculous thought. I can guarantee you I still have spontaneous moments.  That’s part of my nature.  But everyone working with you will appreciate your forethought and find that people are more confident if they can rely on your somewhat established concept right from the first day of rehearsal.

Drama Resources for Busy Teachers

You may be aware I am a retired drama teacher.  Not only do I create drama education resources for drama, language arts, reading and vocal music teachers,  some teachers of  gifted upper elementary students and middle school purchase them too. .  You can see them on  Teachers Pay Teachers.

Bundle:  Study Guide & Set Design Units for Tom Sawyer play

Bundle:  Set Design with Fairy Tales or Bundle:  Set Design with School Setting

     

If you’d like a FREE lesson for middle school students concerning set design, go to: Set Design the Rendering 

For more advice, check out these posts:

https://dramamommaspeaks.com/2016/11/19/critical-steps-in-producing-a-play-or-musical-costumes/

https://dramamommaspeaks.com/2016/08/17/selecting-a-play-or-musical-casting/

Recently, I watched Phaedra on National Theater at Home and it is exceptional.  But friends, the set is phenomenal!  Check it out here- How we made it:  Phaedra’s Five Sets in One at the National Theatre

I’d love to hear about your experiences directing with unusual sets.  Contact me at dhcbaldwin@gmail.com

Critical Steps in Producing a Play or Musical: Set Design

 

 

Critical Steps in Selecting a Play or Musical: Casting

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Critical Steps in Selecting a Play or Musical: Casting

Into the Woods   Performing Arts in Children’s Education  July 2004

Critical Steps in Selecting a Play or Musical: Casting

Today, I want to discuss the critical steps in selecting a play or musical: Casting. Have you ever seen someone do something  that you know is very difficult to do? Have you thought that they make it look easy? Me, too.  I’ve been watching the Olympic Games and in particular I’ve enjoyed cheering on Simone Biles as she catapults herself all over the gymnastic mat.  Incredible!

An experienced director looks much the same way.  They make it look effortless.  It is not. Casting a production can be challenging, or easy and even fun but it can also be hugely nerve wracking.

In this series on selecting a play or musical, this is the next item to consider–casting

first rehearsal
First rehearsal of Oklahoma!

Assessing Talent Requirements: Matching Roles to Performers When Casting

1. What abilities are required of performers for this production?

First, you have to look at the roles and decide who is most essential.  Does the show require tap dancers for 42 Street (not easy to come by in adult actors)  or singers who can sing in six part harmony for Sweeney Todd (not easy to come by either)? How many men? Men aren’t in great number in community theatre. Many plays and musicals require more men than women (aint’ it the way ?)

If the play calls for a thirteen year old female  for The Diary of Anne Frank, do you have one who can play the character?  If an elderly man is needed for King Lear, do you have person who can play it? How about someone who can dance the ballet in Oklahoma? Or juggle in Barnam? Or you think could learn to juggle? Really take the time and be honest with yourself about what the production requires.  My advice:  If you don’t think you have the people (or at least l/2 of them) that you need BEFORE you hold auditions then change shows.

Critical Steps in Selecting a Play or Musical: Casting

The Diary of Anne Frank  Fine Arts Guild of the Rockies  2012

2. What artistic expectations do you have of the company for which you are working?

If you are a guest director, I’d survey the theatre company you are working for and ask for their mission statement.  It may express something about including all community members participating in their productions. Looking to cast a youth theater production?  Check out: Ten Steps in a Play Rehearsal in Youth Theater

What does that look like exactly?  If they expect you to cast someone with a physical challenge, such as a blind person or one with hearing loss and you are directing The Miracle Worker for them, then you need to know that right up front.

Some companies leave everything to the director to decide.  That’s nice. However, sometimes the company will return to you later and request, “We need you to cast So-and-So because his father is a board member.” Have a personal opinion about such “favors” before you begin.  It will save you heaps of time and headaches, I guarantee you.  Make your wishes known as you pre-plan the show.

Critical Steps in Selecting a Play or Musical: Casting

The Music Man   Theatre Reading Young People and Schools  2001

3. Casting is a bugaboo

As I mentioned, casting  has the capacity to be difficult.  Experienced directors will share with you that casting can be very random. When casting productions I use my intuition to select the actors. If the essence of the character seems to be a part of the actor’s persona. When I am unfamiliar with the actor auditioning, I will attempt  during auditions to direct them in the characterization I’m seeking.

If  we (and I do mean “we”) can reach a common vision for the character, then I will be interested in casting them.  I don’t always have success with this method, but I am wiling to take a chance.

Unfortunately, there are directors that pre-cast their productions.  I really dislike that.  If Sue is cast that was not pre-cast like Mary, somehow Sue will find out that Mary  was selected ahead of time and that can make for hard feelings within the cast.  Play fairly.

Assessing Talent Requirements: Matching Roles to Performers When Casting

I think it is all right to invite people to audition for my shows, but I have a disclaimer clause that I mention to them, “I can’t promise you a role, because that wouldn’t be ethical.  But I am interested in hearing you read several parts.  If I cast you, I will treat you like every other cast member as I know you would want me to do.  That’s only fair.”  That’s sort of a salesman’s assumptive close, because it implies that the invited person would want to earn the part on their own merit, OF COURSE and not cheat to win it.

Critical Steps in Selecting a Play or Musical: Casting
The Giver 2012

4. The Talent Pool

Do consider whether you have actors who can sing the roles, dancers who can play dancing roles and actors with the hutzpah to carry off a two hour show.  If not, then I’d change shows.  Sure, there are directors who say, “Well, we will make it work.”  Really?

If the theatre company you are directing for has no problem with unqualified actors portraying roles, then give it a go.  Will you be so distracted by the duck-out-of-water person that you can not fully engage with the show?  Trust me, I’ve learned the hard way.  Once I cast a woman who was an incredible actress when she was young, but hadn’t acted in thirty years.  She was anxious about her lines, consequently taking herself out of the performing experience– inebriated.  I knew in my heart that this experience would be too much for her, but I went ahead and cast her anyway.

Consequently, I had to replace her with myself!  I should have known better.

PLAYING DOT IN CRICKET ON THE HEARTH

Some award-winning performers quotes about auditioning

  • Hugh Jackman (actor, musical theatre performer):

“Auditioning is really about being present and showing who you are—not trying to be what you think they want.”

  • Lin-Manuel Miranda (creator of Hamilton, In the Heights):

“Auditions are weird—you’re not trying to play a role; you’re trying to convince them you could play it.”

  • Philip Seymour Hoffman:

“Auditioning is a chance to act, so I never thought of it as torture. It’s a chance to play for five minutes.”

  • Alan Rickman:

“Talent is an accident of genes—and a responsibility. Auditions are where you prove you know what to do with that responsibility.”

  • Kristin Chenoweth (Broadway performer):

“Every ‘no’ in an audition is one step closer to the ‘yes’ that’s meant for you.”

A Secret of Mine

If you are there to set the benchmark for future directors and productions, then by all means only cast the very best.  I’ve directed all skill levels, some brilliant artists and some not so great.   I’ll tell you a secret:

If audience members are judging you by one actor’s performance, then they need to go home. 🙂

Herding cats is easier than directing.

Go to my next blog concerning set design and construction.

What insights to do you have about auditioning?  I’d love to learn about them?  Contact me at Dhcbaldwin@gmail.com

 

 

 

Critical Steps in Selecting a Play or Musical: Budget & Royalties

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Willy Wonka, Jr.  2010

Let’s discuss the critical steps in selecting a play or musical:  budget & royalties.  Sometimes I meet with directors of future productions who are excited and apprehensive at the same time.   Usually, they are certain in their decision of choice of show or are completely overwhelmed by the many selections in which they have to choose.  I thought I’d write a series of blog entries concerning this.This is the first of many.

Number One: Director’s Concept

You need a director’s concept.  A director’s concept is the message that the director wants to convey to the audience.  If you are directing “The Miracle Worker”, you will probably want a natural, historically accurate concept. If I’m directing a historical piece, I select costumes, props and have a set designed to demonstrate it. But what else is important to you?  Helen’s viewpoint?  How can you  present that to an audience?  I’d suggest to you to create a concept collage pertaining to your concept.  It’s really easy to do, fun and will help you in every facet of the production.  Get out a large piece of paper or posterboard, begin researching on the internet (which is the easiest way to research for this), find photos of everything that inspired you and your director concept.

Number Two:  Budget

What is the budget? Before a company can even get started, the budget must be considered. There is nothing worse than getting yourself caught in a snare of “Well, we have to buy it (or rent, borrow or steal it) because the script says so.”  Proper preplanning can help a company to avoid this dilemna. To me, the budget controls everything–where you can afford that really neat backdrop you want to rent for , or the authentic looking chain male for “Camelot”, puppets for   Lion King   and so on and so on.

Some amateur companies set a budget, but never look at it again.  Some have producers who guard the budget like a hawk.  Some others leave everything up to the director (as if they don’t have enough to do all ready). Make sure you know how the money is overseen.  You’d hate to find out that the fog machine you had rented can’t be used for the woods scenes in “Into the Woods” after you had enthusiastically worked it into the show.

And for heaven’s sake, read the script a couple of times to make sure there aren’t any surprises that you forgot about.  But where do you find the publishing companies’ names?  There is a great source, Findaplay.com  that can help you.  You can always search the web for the company, but if you want to produce a version of Tom Sawyer, for example, there are several companies that offer it.  Findaplay.com will list all of them and if they don’t, then go to the web and look around.

Several times I have wanted to produce a play version of some story.  One was Holes and another was The Stinky Cheese Man and Other Fairly Stupid Tales.  At the time, there were no publishers with rights to the stories.  It took a bit of searching, but I found the author of Holes which led me to the playwright of Holes.  I wrote to the playwright and asked if my school could produce his play and he agreed! Talk about fortuitous!  I did the same with Stinky Cheese Man.  I found the author, who sent me to the playwright who allowed the youth theatre company I was working with to produce the musical version.  Pay dirt!  So, if you are interested in a particular book and want to produce it as a play or musical, look around the internet.  You may find it in this manner.

But in no uncertain terms (please hear this loud and clear) you CAN NOT take someone else’s material and dramatize it for your own use.  This is a HUGE copyright infringement and just tacky.

https://readersfavorite.com/annual-book-award-contest.htm?affiliateID=1555

img_0183

Number Three:  Royalties

Personally, I think it’s important to know the cost of the royalties for your chosen production before even choosing it.  Usually, plays are no problem.  But musicals?  Well, that’s another challenge all together! Any time I hear about a company who is producing a fairly new show straight off of Broadway, I always think about the royalties.  The cost of royalties can stop a company in their tracks.  Musicals require a hefty sum of money to produce, not to mention the rental of scripts and librettos.  Oh yes, and if you plan to have an orchestra, you need to figure in the cost of their music to rent as well. (And paying your orchestra players, too.)

Also, you may need to pay the royalties to the publisher ahead of time.  It all depends upon the contract you sign, so read it overcarefully.

When you peruse a copy of a musical, you can ask the publishing company for a general royalty cost.  You’ll need to give them some information that’s necessary to them ( size of theatre, ticket prices, length of run, etc.)

So, there you have it!  There are the critical steps in selecting a play or musical:  budget & royalties.

If all of these decisions sound daunting, keep in mind that it is just part of the journey to direct or produce a show.  I promise you, once an audience sits down in the theatre and the house darkens, you will forget all about this stuff.  Because that’s all it is, stuff…..

Next look at my post on casting a production.

Contact me at Dhcbaldwin@gmail.com or BumblingBea.com

MTI Junior Musicals– A Dream Come True!

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MTI junor musical
MTI junior Mulan, Jr.

MTI Junior Musicals– a Dream Come True!

Are you selecting an MTKI Junior or Kids Musical?  In my opinion, they are a dream come true!This year, my co-teacher and I are directing a musical that is NOT a MTI show. In case you aren’t familiar with the initials, MTI stands for Music Theatre International.   I knew MTI was good, but boy, I didn’t realize how excellent until now. I won’t go into detail, but suffice to say that I highly recommend sticking to MTI shows.

You ask the reason why we ventured out of MTI? We weren’t unhappy with their quality or professionalism. A lot of it had to do with the students who enrolled in our class this year and their level of talent. MTI has a plethora of musicals with new ones coming out all the time. Their website is: http://www.mtishows.com.

MTI junior Into the Woods
MTI junior Into the Woods

Several years ago, my artistic director at Presser Hall Performing Arts Center and I ventured to Atlanta to attend the MTI junior theater festival. What a treat it was! It was wonderful to be around other educators that spent most of their school year in the “trenches” teaching middle school students. One of the most exciting parts of the festival us the announcement of new musicals ready to produce!

As you may know, I have a very extensive resume directing numerous plays and musicals. It is just what I do. But a quick list for you: Fiddler on the Roof (4), Aladdin (2), Suessical (4), Willy Wonka (3), Music Man (4), Alice in Wonderland (4), Aristocats (3), Annie (1), Sleeping Beauty (1) Lil Mermaid (2), Honk (2), Mulan (1) and School House Rock (2). Whew!

 MTI Junior Musical–A Dream Come True!

I could speak about the festival in length, however as I mentioned above, this is my endorsement for the MTI Junior and Kids musicals. No one asked me to write this blog post. But I know that many teachers and directors are considering their next musical and maybe this list will be helpful.
So, why these particular musicals?

First of all, this company does an excellent job of considering their consumers. Not only are their junior versions, but also kid ones. Juniors run aroun 70 to 90 minutes in length, with Kids around 45 minutes. I use both types every year depending upon the length of time I have and where I am directing at the time. If MTI could receive a grade, I would definitely give them an “A”.

MTI junior Alice in Wonderland
MTI junior Alice in Wonderland

The kit includes the materials mentioned below:

Director’s prompt book–I’ve directed productions for nearly forty years, so I can definitely label myself as an expert. And even with all these experiences, I still need help from time to time. Their prompt book is excellent! The sound and light cues are listed, props, costumes and set suggestions as well as suggestions in the directing of the show.

The MTI junior book’s page numbers are the same as the casts’ so that alleviates confusion. Measure numbers are listed, generally the cast libretto is exactly the same as the director’s. There’s a page that one could copy for auditions, and even guidance for novice directors.

Piano score–It includes cues as well.

Cross Curricular Lessons--Oh yeay! It is always good to have some other department involved in your production. Although I haven’t had the chance to use them because I teach in a very nontraditional school, the lessons are great.

Chorus books–I believe ten copies are part of the kit.

Individual scripts–Trust me when I say, the MTI junior scripts are the best in the market. The student’s script includes several pages concerning the particular production, a page about stage directions and how to write in one’s script, a page for autographs and several blank pages at the back of the script for cast notes.

CD’s–These are a Godsend for youth theatrer. There is usually one CD that is labeled for performance and one for rehearsals. Or both might be included on one CD. Oh my gosh, I don’t know how much time it has saved us having these CD’s. Because music cues are included, students can learn their cues right along with their songs.

Plus, you are guaranteed of a well paced production because there is no inconsistency in the meter of the songs–no cast member can slow down the show by singing their song too slowly. Lastly, there is even an “orchestra warm up” at the beginning of the show! Sometimes I use that to signify to the audience that the production is about to begin.

Family Matters booklet: If one’s child has never been involved in a production, its a pretty heady experience. This little gem of a book answers questions about what to expect during the rehearsal and performance process. This would have been a lot of help to me when my own children were performing in productions. How does one deal with your child once the production is over? That’s a toughie, but this book addresses it perfectly.

Choreography DVD--Who does this? This is an excellent idea.  Usually, the DVd includes major numbers in the show as well as a step by step rehearsal aide, too. Tremendous help.

So there you have it! I hope you’ll consider an MTI junior or kid musical in the future. I can guarantee you your show will be successful.

Have you produced any MTI junior musicals?  What were your experiences?  I’d love to hear about them.  Contact me at Dhcbaldwin@gmail.com or DeborahBaldwin.net

Needing some help with set construction and have questions? Check out:

Selecting a Play or Musical Set Design and Set Construction

Critical Steps in Producing a Play or Musical:  Costume Design

Deb

Double Casting a Show? Here’s Advice

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Double Casting a Show? Here’s Advice

Are you double casting a show?  Here’s advice. This is a subject near and dear to my heart.

Double Casting a Show? Here's Advice
Willy Wonka, Jr.

I have gobs of experience on this subject having directed mostly successful musicals and plays with adults and children for over thirty-eight years. Trust me when I say, you too can double cast a production and come out of the experience as a sane human being. I really think that double casting youth theater productions is the way to go.

Here’s some advice:

1. You should alert those auditioning that you are considering double casting. That doesn’t mean you are required to double cast, however. You are merely thinking about it. Actors don’t like to be surprised. They spend so much time thinking about the outcome of their audition, it is only polite to warn them. Some people won’t be involved in your production if they don’t know in advance that you are double casting.

2. After you have double cast the show, I strongly suggest you label the casts. This year, I am double casting three roles in Fiddler on the Roof, Jr. (Chava, Hodel and Tzeitel). In one of the schools in which I teach, we have so many talented young women, my co-teacher and I thought it was the best way to go this year.

We labeled them cast “A” and “B”–not the most creative labeling we could come up with, but you get the idea. (And as I rethink this, probably refraining from using A and B would be a good idea since in education “A” means excellent.) Frankly, I enjoy labeling the cast with some word from the title of the musical such as “Guys” and “Dolls” or “Alice” and “White Rabbit”, etc. You get the idea.

3. Double casting keeps the egos out of the way, in my opinion. If you divide the strength of the cast between both, you are more likely to have a terrific outcome. I have seen many a talented student who lacks confidence who feels bolstered by the students around him with more experience and so forth. Sometimes that’s all the one who is a little more unsure needs–the other students’ confidence rubs off on him.

4. I don’t worry whether the two actors are the same size when it comes to costuming them. I think that’s costume designer’s problem and no one should be denied a part because she isn’t the same size as another person cast in the role. Some of us just can’t help that we are short or very tall. 🙂

5. Usually, I have the double cast actors observe each other’s rehearsals. Even if I have to review blocking solely for the second cast, that’s my choice. When I stage a musical number, the actors learn the parts at the same time, side by side. The same thing goes for vocal rehearsals. If all goes well, the two actors can rehearse with each other, checking their blocking, going over lines, etc.

The Gloops from Willy Wonka, jr.

6.  Usually, we have four performances.  I give each cast one performance which will probably have a smaller audience (such as a Thursday night or Saturday afternoon).

7.  When the flu season approaches, having a double cast alleviates much of the stress of absenteeism.  You know that someone will be there to rehearse.  I also make it clear to the students I expect them to work as a team and help each other whether it means running lines with one another or getting all the director’s notes if one person is absent.  Again, this keeps the egos at bay.

Sometimes rehearsals get tricky what with two casts, two sets of notes, two sets of problem solving but I promise you it’s worth it. Several times in my career, I have been double cast myself! And look–I’m here to share my experiences with you.

Do you like free resources?  Pick up my free guide and ten page lesson here

Or maybe you are wanting to teach how to Create Your Own Musical? 

Have you double cast a production?  I’ve love to hear about your experiences.  Contact me at dhcbaldwin@gmail.com or DeborahBaldwin.net

woman behind DramaMommaSpeaks

Need more advice about directing?  Check out these links:

https://dramamommaspeaks.com/2016/10/20/eighteen-ways-to-make-your-directing-experience-less-stressful-part-one/

https://dramamommaspeaks.com/2016/10/23/eighteen-ways-to-make-your-directing-experience-less-stressful-part-two/

 

Resources for the Best Youth Theater Productions-The Most Successful Ones, My List

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Ursula in Bye Bye Birdie 2014
Ursula in Bye Bye Birdie 2014

As I wait to proof the interior of my book, Bumbling Bea, I have been busy selecting this school year’s musicals.  I co-teach four musical theater classes with students ages fourth through twelfth. Yes, you read that correctly–four.  (Well, actually 6 in total but we won’t talk about that…) What can I say?  It’s the job

We see the students once a week for two hours.  We begin rehearsing in October and generally produce the shows in April and May.  Each year, I remember very little about the months of February through April (Did it snow? Did we have friends visit? Did we see any movies? Visit our family?  Did I exercise at all? You know, that sort of stuff.)

For over thirty years, I have directed youth theater directing over 200  plays and musicals .  Sometimes I can’t remember if I have directed a particular show, performed in it myself or merely read it!  But I do know one thing:  I know what works and what doesn’t most of the time.  I say most of the time, because I am always surprised by a certain production and its success or lack thereof.  So, here is a list of shows that I have directed that I deem “successful”.  I have placed a number by the title  so you know how many times  I have directed them, too!

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The Secret Garden  May 2016

Music Theatre International Junior Musicals

The first group are MTI’s junior musicals. If you are seeking a musical for a large cast with varied ages, I suggest these the most to directors who ask for recommendations from me.

  • Disney’s Alice in Wonderland, Jr. (5)
  • Disney’s Lil Mermaid, Jr. (2)
  • Disney’s Willy Wonka and the Chocolate Factory, Jr. (3)
  • Seussical, Jr. (4)
  • Music Man, Jr. (4)
  • Fiddler on the Roof, Jr. (3)
  • Beauty and the Beast –I co-directed this with my daughter because it was such a monster
  • Aladdin, Jr.

Music Theatre International Kids Musicals

The MTI Kids are good, too:

  • Annie, Kids
  • Jungle Book, Kids
  • 101 Dalmations, Kids
  • Aristocats, Kids
  • “Dress As Your Favorite Animal Day” June 2013

Tams Witmark Publishing Company

Another company that has several musicals appropriate for students is Tams Witmark.  They are NOT an easy company to work with and they are just now (after about twenty years of prodding, I’m sure) getting their act together and offering condensed versions of some of their shows typically performed by adults.

  • Oklahoma!
  • Bye Bye Birdie (2)
  • The Wizard of Oz (I must say, I was pleasantly pleased by the newest version that they offer. I had never directed the musical before, mostly because everyone does their version of the movie.  That’s not me.  See my blog on set design concerning this.)

Dramatic Publishing

I also like Dramatic Publishing’s musical version of Charlotte’s Web (2).

As far as plays are concerned….

  • The Giver
  • Miracle Worker (2)
  • Diary of  Anne Frank (2)
  • The Best Christmas Pageant Ever (4)
  • It’s a  Howl! (2)
  • Tom Sawyer (2)
  • Anne of Green Gables

So if you are needing advice about a particular production, post a message here and I’ll be sure to reply. Thanks!

dhbaldwin@gmail.com

BumblingBea.com