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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.

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

Why Drama Is the Ultimate Life Skills Curriculum

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Drama Is Life Skills: How the Classroom Becomes Real-World Practice

Drama Is Life Skills: How the Classroom Becomes Real-World Practice

I believe drama class is life skills. One of my favorite classroom memories explains exactly why Drama Is Life Skills: How the Classroom Becomes Real-World Practice — and it doesn’t involve a standing ovation.

It involves a triangle.

The Power of Being Needed

Years ago, during one of our radio play performances, my student with support needs, Joey, desperately wanted to be part of the show. Speaking lines felt overwhelming for him, but I found a place for him anyway.

He played the triangle — not once or twice, but throughout the performance– small shimmering notes signaling transitions and adding atmosphere. Every time his cue approached, Joey stood up excitedly. He watched closely. With his aide by his side to help if needed, he waited with complete concentration.

And when the moment came, Joey struck that triangle with confidence and pride.

Joey  wasn’t on the sidelines.

He was essential. And for the first time, his classmates truly saw him.

That day confirmed something I had known deep down for years.

Drama isn’t enrichment. It’s life skills education.

Drama Is Life Skills: How the Classroom Becomes Real-World Practice

Communication Without Pressure

In Life Skills classrooms, students are constantly navigating communication challenges. Conversations can feel unpredictable. Social cues are subtle. Consequently, expectations shift.

As you might expect, drama removes much of that unpredictability.

  • Scripts provide structure.
  • Lines are rehearsed.
  • Turns are clearly defined.
  • Tone can be practiced safely.

Often, students’ greatest worry is simply not knowing what to expect. Through radio-style performances, students who feel uncomfortable being physically “on stage” begin to relax. Early on, they discover that we rehearse the script many times. In addition, we practice reading expressively, fine-tune sound effects, and embellish narration.

By the time it’s ready for an audience, the spotlight feels softer. The expectations are clear.

Students practice:

  • Listening for cues–This one skill is more difficult to learn than you would think
  • Waiting their turn–During the first rehearsal, I teach students that part of being a grown up is learning how to wait. They can practice doing so through the rehearsal.
  • Speaking clearly–When directing my casts I remind them, “If they can’t hear you or understand you, it doesn’t matter how good or entertaining you are.”
  • Modulating volume–As well as coaching students to learn to control their speaking volume, students learn its power to define their character.
  • Responding appropriately–Understanding that the director has the final say and responding appropriately and respectfully is a valuable skill to learn for any occupation.

In other words, these aren’t just theater skills.

They’re workplace skills. Community skills. Independence skills.

Drama Is Life Skills: How the Classroom Becomes Real-World Practice

Social Rehearsal in a Safe Space

Think about how many life skills involve social interaction:

  • Greeting someone
  • Resolving a misunderstanding
  • Expressing emotion appropriately
  • Working cooperatively

Drama provides rehearsal for all of it.

Through structured role-play, students can practice ordering food, asking for help, introducing themselves, or solving a conflict. If something doesn’t go well, we simply pause and try again.

No real-world consequences.
No embarrassment that lingers.
Just practice.

Drama Is Life Skills: How the Classroom Becomes Real-World Practice

Since students with support needs are often mainstreamed into arts classes alongside their peers, they also have the opportunity to learn from classmates, not solely from their teacher.

Learning Without the Spotlight

When a student watches a peer:

  • They see what commitment looks like. The students see their peers practice their lines many times, fixing errors as they go and then trying again.

  • Everyone experiences what happens when someone forgets a line and recovers. The fear of ridicule is a big worry for most students However, they can observe how a classmates handles the error and bounce back without any embarrassment.

  • Students notice vocal projection, posture, pacing, gesture. We ask a lot of students when they enroll in a theater class.  One of the most challenging things is to be willing to express one’s emotions. Once you point out to students what a particular emotion looks and feels like, they are more open to experiment themselves.

Perhaps most importantly,  because they’re not “on,” the student’s  brain is free to analyze instead of survive. For reluctant learners especially, this lowers anxiety while still building skill.

Some educators even create simple communication scripts specifically designed to help students practice real-world interactions. As children, most of us eventually figured out how to ask someone to play or start a conversation. But for students with differing abilities, expressing needs can be far more challenging.

Those structured supports pair beautifully with drama-based activities. The scripts provide the language. Drama provides the rehearsal space.

If you’re looking for ready-made communication scripts, my colleague Charlotte Lim offers thoughtfully designed resources that focus on these social exchanges. You can explore her materials here: Colourful Teaching For You.

Drama Is Life Skills: How the Classroom Becomes Real-World Practice

Structure Creates Safety

Many Life Skills students thrive on routine and predictability.

Drama, when taught intentionally, is structured creativity.

Every activity has:

A beginning, middle and an end. There are clear roles and  expectations.

Even improvisation operates within boundaries. Ever heard of  the phrase “Yes, and…”? I believe this improv. exercise is popular simply because it has very clear rules and boundaries for the actors.

That structure creates safety. And safety builds participation.

I watched it happen over and over again. When students understood the framework, they relaxed into it. They began to trust the process. And once they trusted the process, they took risks.

Small risks at first. Then bigger ones. And the payoff is huge.

Before long, you’ll see these students included not only within their Life Skills class, but alongside other peers and school friends. They shine.

Drama Is Life Skills: How the Classroom Becomes Real-World Practice

Confidence That Transfers

Here’s what I saw year after year.

Students who once hesitated began to:

  • Raise their voices with clarity
  • Initiate conversations
  • Make eye contact
  • Volunteer for responsibilities
  • Take pride in completing a public task

Confidence built in a drama classroom does not stay in the drama classroom.

It transfers to everywhere and everything –job interviews, classroom presentations, community interaction and daily life.

Joey wasn’t just playing the triangle.

He was learning to:

  • Follow timing and direction
  • Monitor attention
  • Contribute to a team
  • Complete a task under gentle pressure
  • Experience the pride of being necessary — and that is monumental

He didn’t need dialogue.

He needed purpose.

Drama Is Life Skills: How the Classroom Becomes Real-World Practice

Every Student Gets a Role

One of my guiding beliefs as a drama teacher was simple: Every student gets a role.

Not every student needs the spotlight. Furthermore, neither does every student wants it.

But every student deserves participation.

Students might read lines or narrate the story. While others focus on sound effects or manage props. Small groups bring scenes to life.

And occasionally, one holds a triangle — waiting for the exact right moment to strike.

The difference is this:
Drama allows differentiation without isolation. It allows contribution without comparison. That’s part of the magic!

And that is what makes it such a powerful life skills curriculum.

Drama Is Life Skills: How the Classroom Becomes Real-World Practice

Drama Is Not a Luxury

If we truly want to prepare students for life beyond school, we must give them opportunities to rehearse life itself. This is discussed in the core classes, but not focused on as much in the elective classes. It’s always a struggle for us–to convince a parent or student that our classes  can teach them skills which can set them up for their future. The arts create structured opportunities for students to develop the habits and skills real life requires.

There is communication, collaboration, emotional expression, problem-solving, responsibility as well as pride in contribution.

After implementing one of my radio play units in her Life Skills Music class, a fellow teacher shared:

“I used this entire unit with my Life Skills Music class. We learned all about radio, created theme songs, and performed Foley artistry sound effects. We recorded The Bow Wow Blues, and I edited it together. Well done, Dramamommaspeaks!!!”

You can even hear their finished recording here:
https://www.youtube.com/watch?v=ixawAaZZa2k

Rehearsing for Real Life

This teacher’s experience reinforces what I have seen for decades: when students are given structure, creativity, and meaningful roles, they rise to the occasion. They collaborate, take ownership and produce something real.

And that kind of engagement isn’t accidental. It’s intentional.

Worksheets cannot replicate that. Drama can.

In my classroom, drama was never about applause. It was about belonging.

A Place to Practice

My goal is to  make sure every student — even the one holding a triangle — understood that they mattered. That they contributed. Ultimately, they were more important than they realized.

Because long before students step into a job interview, introduce themselves in a new setting, or navigate a difficult conversation, they deserve a place to practice.

Drama gives them that place.

And that is why drama isn’t an extra.

It’s the ultimate life skills curriculum.

If you’d like to explore drama resources specifically designed for Life Skills and inclusive classrooms, you can browse the collection here. Drama for Life Skills Classrooms.

How have you used drama in your classes?  I’d love to hear about it.  Email me at DhcBaldwin@gmail.com

Drama Is Life Skills: How the Classroom Becomes Real-World Practice

Should Middle School Directors Cast Every Student?

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Should Middle School Directors Cast Every Student?

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

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

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

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

first rehearsal
First rehearsal of Oklahoma!

Why This Question Comes Up So Often in Middle School

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

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

These are valid concerns—and they deserve thoughtful consideration.

Should Middle School Directors Cast Every Student?

When Casting Every Student Can Be the Right Choice

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

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

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

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

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

Should Middle School Directors Cast Every Student?

Inclusive Theater: When To Cast Everyone in Middle School

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

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

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

Should Middle School Directors Cast Every Student?

Two Very Different Casting Realities

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

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

Should Middle School Directors Cast Every Student?

When Following the Script Makes Sense

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

Following the script closely may be the best choice when:

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

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

Should Middle School Directors Cast Every Student?

Should Middle School Directors Cast Every Student?

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

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

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

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

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

Should Middle School Directors Cast Every Student?

Finding the Middle Ground

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

Some alternatives to consider:

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

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

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

Keeping the Door Open: More Ways for Students to Belong

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

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

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

Should Middle School Directors Cast Every Student?

What I always tell my students after casting

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

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

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

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

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

What Matters Most

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

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

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

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How Sound Design Brings Characters to Life

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How Sound Design Brings Characters to Life

How Sound Design Brings Characters to Life

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

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

The Power of the Voice

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

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

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

How Sound Design Brings Characters to Life

A Drama Exercise in Vocal and Physical Expression

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

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

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

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

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

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

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

When the Voice Is the Character

How Sound Design Brings Characters to Life

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

How Sound Design Brings Characters to Life

Sound Design Completes the Picture

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

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

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

How Sound Design Brings Characters to Life

Classroom Idea: Sound Design Reflection Worksheet

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

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

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

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

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Check out my new book:  We’re Live! Radio Theater #101

Who Is Springboard to Action and Why It Matters

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

Who Is Springboard to Action and Why It Matters

Who is Springboard to Design and Why It Matters

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

Springboard to Action

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

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

Who Is Springboard to Action and Why It Matters

Benefits of Springboard to Design

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

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

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

Who Is Springboard to Action and Why It Matters

Breaking Barriers for Future Theater Artists

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

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

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

Who Is Springboard to Action and Why It Matters

Application Details and Deadlines

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

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

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

The Power of Finding Your Community

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

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

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