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.
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.
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.
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.
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.
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?
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.
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.
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.
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.
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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