Professional Theatre

Five Reasons You Shouldn’t See The Prom Musical on Your Own

December 9, 2020 By dhcbaldwin Leave a Comment

Five Reasons You Shouldn’t See The Prom Musical on Your Own

I know this blog title sounds like I’m going to talk about something scary in The Prom–it’s quite the opposite! It’s wonderful.

Did you know Netflix is streaming The Prom musical?

It’s available to stream beginning December 11. I’m looking forward to seeing it.

Here are five reasons you shouldn’t see The Prom musical on Your Own:

Reason #1–Movies are meant to be seen with someone, in my opinion. How much fun is it to see a musical all by yourself? You need someone to sing with you!

A Synopsis of The Prom

Emma becomes an instant outcast and a national headline when her high school cancels the prom rather than let her attend with her girlfriend. Sensing a chance to correct an injustice and maybe get some good publicity along the way a group of fading celebrities takes up the cause, and invades Emma’s small Indiana town. But their bumbling attempts at social activism make the situation far worse than they or Emma could have ever imagined. Cultures clash and the town erupts in chaos. The community’s reputation, Emma’s future, and the celebrities’ careers, all hang in the balance, until a true hero emerges to save the day. Uproarious and ultimately uplifting, this musical proves that standing up for yourself and inspiring others to accept their differences can make you the star you were always meant to be.

An All Star Cast

Reason #2–The Cast is exceptional! Having someone to chat with about the direction makes the viewing all the more worthwhile.

Nice, huh?

The movie cast is excellent and includes Meryl Streep, James Corden, Nicole Kidman, Andrew Renalls, Kevin Chamberlain, Ariana Grande, Keegan Michael-Key, Kerry Washington and a host of other great performers. Newcomer, Emma Pellman will portray the lead role of Emma and Arianna DeBose as Alyssa.

Wow!

The Creative Team

Reason #3–This is an excellent artistic staff at the helm. I mean, Casey Nicholaw? You can’t get someone much better than him. Just check out his biography. You might miss something in the direction if you watch by yourself and a friend might catch it. I understand the humor is spot on.

Casey Nicholaw, Director

Casey Nicholaw (born 1962) is an American theatre director, choreographer and performer. He has been nominated for Tony Awards for directing and choreographing The Drowsy Chaperone (2006), The Book of Mormon (2011), Something Rotten! (2015), and Mean Girls (2018) and for choreographing Monty Python’s Spamalot (2005) and Aladdin (2014), winning for his co-direction of The Book of Mormon. He also was nominated for the Drama Desk Awards for Outstanding Direction and Choreography for The Drowsy Chaperone (2006) and Something Rotten! (2015) and for Outstanding Choreography for Spamalot (2005).

Bob Martin, Co-Playwright

Bob Martin began his career acting and directing at The Second City in Toronto in 1996. He won a Tony award for Best Book for a Musical and Best Actor in a Musical category portraying “Man in Chair” in Drowsy Chaperone. In addition, Martin wrote the Urinetown music and lyrics. Among many of ventures, he returned to Broadway by co-writing the book for Elf with Thomas Meehan. He co-wrote Prom the Musical with

Like many artists, Martin’s resume is varied. It includes writing the book for a musical adaptation of the 1973 film The Sting and is currently writing the book for a sequel to The Drowsy Chaperone, a musical adaptation of The Princess Bride, a musical adaptation of A Night at the Museum, and a musical adaptation of Millions.

Chad Beugelin, Lyricist and Co-Playwright

Chad Beguelin (born September 24, 1969) is an American playwright and four-time Tony Award nominee. He wrote the book for Disney’s Aladdin, as well as additional lyrics for the score. He was nominated for Best Original Book and Best Original Score for Aladdin. He is also known for his collaborations with composer Matthew Sklar, having written the lyrics and co-written the book for the Broadway musical The Wedding Singer and the lyrics for the Broadway musical Elf the Musical. Beguelin was nominated for two Tony Awards for his work on The Wedding Singer, as well as a Drama Desk Award for Outstanding Lyrics. He, too, graduated from New York University’s Tish School of the Arts.

What did the Reviewers Think of it When It Opened on Broadway?

Reason #4–Reviewers love the Broadway version. See if you agree with the reviewers. You can’t exactly discuss the pros and cons of the production with just yourself. When it opened on Broadway, the reviewers extol much praise on the show. That’s a good sign the musical will be well accepted, too.

The Prom was the first musical of the 2018–2019 Broadway season to be named a New York Times Critics Pick, with Jesse Green calling it “such a joyful hoot. With its kinetic dancing, broad mugging and belty anthems, it makes you believe in musical comedy again.”

Frank Rizzo, writing for Variety wrote that “with a tuneful score, a playful book, and performances that remind you what Broadway heart and chutzpah are all about, this cause celebre of a show turns out to be a joyous, funny, and sweet production that should appeal to several generations of musical fans.”

New York Magazine‘s Sara Holdren wrote: “There’s such genuine joy rolling off the stage in The Prom that you’re ready and willing to forgive it its minor misfires… Did I shed several real tears in The Prom’s final scene? Maybe I did… I also seldom stopped laughing. The show is full of witty delights.”^[16]

Adam Feldman of Time Out Magazine gave the show 4 out of 5 stars, saying “It is cheering to see a musical comedy that engages with modern questions, with a teenage lesbian romance at its center to boot… But while the issues are contemporary, there is a 1980s feel to the character types and the overall style of Chad Beguelin and Matthew Sklar’s score, which resembles their work in The Wedding Singer; a stronger dose of reality in the lyrics and the book (by Beguelin and Bob Martin) would better justify the show’s eventual turn to sentimental education. But Casey Nicholaw’s peppy direction helps give the show enough momentum to power past its narrative potholes and occasional bumps of heavy-handedness.”

In The Hollywood Reporter, David Rooney called the show “one part satire, packed with delicious theatrical in-jokes delivered with aplomb by game stage veterans playing caricatures of themselves; and one part inclusivity teaching moment, reminding us there’s a place for everyone beneath the Mylar balloons at a high school dance, even in conservative Indiana. If the two halves aren’t entirely seamless, especially in the uneven second act, the show has enough humor and heart to paper over the cracks.”

Reason #5 Your Students will LOVE it! You will feel so trendy because you will know the newest scoop in the show. There’s nothing better than making them happy (it does wonders for your ego too.) The Prom is contemporary, fun, quick witted and entertaining.

I have a Broadway musical lesson for The Prom available at The Prom Broadway Musical Lesson

It includes:

Letter to Teacher
Warm Up–MY Version of a Popular Physical Warm Up
Teacher’s Script–What I Say and How I Say it!
History of Prom and How it Became an Important Event in a Young Person’s Life
Photos (1950’s & 2018)
Plot of the Musical
Separate File of Photos for Teacher’s Use in Lecture
History about the Origination of the Production
Information on the Director, Casey Nicholaw
Information on the composer and choreographer, Matthew Skylar
Information about the Co-Playwrights, Bob Martin & Chad Beugelin
Information about the lyricist, Chad Beugelin
A Shortened Lesson on : What are the Tony Awards?
List of Tony Awards
New York City Map with Competing Theatres Labeled
Student Note Page
Teacher Note Page Key
Trivia about The Prom, LGBTQ rights and Recent Data About Prom
Lyrics from “Just Breathe”–good for class discussions or as a jumping off point
Extension Activities–Terrific Suggestions of Ways to Secure the Learning and Enrich the Experience
Sources & Links to Film Clips from the Show
And More!

If hope you’ll check out The Prom soon. I know I will! What Broadway musical is your favorite? You know I’d love to know more about you. Don’t know much about me? Check out: The Top Reasons to Listen to Podcasts Contact me at DhcBaldwin@gmail.com or DeborahBaldwin.net

Facts You Never Knew about White Theatrical Privilege on the Stage

July 7, 2020 By dhcbaldwin 1 Comment

Facts You never Knew about White Theatrical Privilege on the Stage

I’d never really thought about this until yesterday when in my Facebook feed this particular meme showed up with facts about white privilege on the stage.

Facts You never Knew about White Theatrical Privilege on the Stage

I’ve been involved with theater for over forty years. I can only think of a few times I’ve cast color blindly. Several students–Mahogany, Antonio, Cortaiga, Micah, Ayanna, Greg and John come to my mind. I directed all of these kids and hundred of others. Also, I directed a cast of boys for a play version of Holes comprised entirely of black males and one white one. Such an awesome experience.

Not many black students participated in my programs, though I don’t know if that was my fault or not. They certainly enjoyed my classes.

It’s always easy to find a student who is interested in participating on a production. They nearly shout it or jump in front of you for your attention.

Some students may be interested but don’t know how to cross the bridge to audition or be a part of the technical crew.

Did I make it welcoming to them?

I tried.

Just looking at the above meme startles me and makes me sad. There are several statements in that meme which really speak to me.

Casting for “Diversity’s Sake”

Here’s an example for you. I observed it in a children’s theater company who was casting a play of Cinderella.

I knew that color played a part in some directors’ casting.

A friend asked me to help her cast the production. Sometimes directors do this so that it lessens the blow if someone isn’t cast as they could be and accuse them of racial bias. However, at the time I didn’t know this was the reason I was asked to help.

Two women auditioned–one a pretty white, blonde haired and talented. The other was a black woman–beautiful, vibrant and equally talented.

After the auditions were over, I suggested the black girl be cast as Cinderella. I thought her perspective would make the show unique. How many Cinderellas have you seen in story books or movies?

Not many.

That’s why I thought she would be a good choice. Plus, I knew that school groups would see the show and many black students would enjoy and better relate to it.

The black woman was a student in college. After the production closed, someone asked her about the experience of portraying Cinderella.

She said, ” I never in a million years thought I would ever have an opportunity to play Cinderella. It was an amazing experience. I’d look out at the student audiences and see little black girls smiling ear to ear with tears in their eyes. It was incredible.”

Roles Written in Stereotype

In youth theater, I haven’t run into this problem very much. Probably it’s because I never selected a show which put a minority student in a negative light.

How awful for someone struggling to feel seen and accepted for themselves to have someone pigeon- hole you into the very thing you are trying to fight.

Last February, pre-covid quarantine, a new version of West Side Story was running on Broadway. If you know West Side Story, you are aware of the typical casting of whites as Jets and Latinos as Sharks. However, in this version the cast includes black in the Jets, too. How wonderful.

Never having to adapt our social behaviors for the cast and crew

Honestly, I don’t know what this statement means. Does it mean when a black person laughs loudly at a joke while a white person might not and vice versa? So the black person learns to “blend” to be included.

I asked one of my students, now an adult, what that statement meant to her. This is some of what Mahogany said, “We often have to minimize black culture for the sake of making white people feel we are no different than them. an example of adapting social behavior is for theme days: when asked to dress in costume or embody a theme for the day, a black person may think twice about what to choose so they make white people feel more comfortable i.e., they may choose to dress as in rode attire over Wakanda for the sake of now drawing attention to one’s blackness for the sake of white people NOT for their own pleasure.”

I’d never thought about it. Oh my gosh, how tiresome it must be for black people to do this. I’m sorry, Mahogany.

I just found information about a training program specifically for black actors. It’s called Black Acting Methods.com. Check it out here: https://www.blackactingmethods.com/

How to be aware of my racism

I’d like nothing better than to see a production with an all black cast or Latino cast or even a color blind cast. Let’s celebrate our differences and acknowledge that we are all different, but we all matter. Because of our differences it puts us in the same in that light in that regard.

The only way I can fix racism is to first be aware of it at all times. That’s where I’ve started. I hope I grow.

Let’s help our students never go there. Let’s celebrate the talents of others. In this case, I am speaking about black people. I create drama lessons and sell them in my store on Teacherspayteachers.com.

Here is one for you as an example. Famous Theater Artist-Billy Porter

If you are interested in seeing more about this product, go to:

Famous Theater Artist Billy Porter Biography and One Pager Assignment

I hope you’ll consider your place in the subject of racism and what you can do to make everyone feel equal and included. I know I am.

Until next time.

I’d love to hear from you. Contact me at DhcBaldwin@gmail.com or DeborahBaldwin.net

If you’d like to read another post about making people feel welcome, check out: This Is What Happens When You Don’t Think Too Much, a Special Kind of Spontaneity

If you’d like to see why I think it’s important for our students to read biographies, check out: Should Students Read Biographies?

Growth Mindset in the Study of Famous Theater Artists

November 12, 2019 By dhcbaldwin 6 Comments

Today, let’s talk about the importance of growth mindset in the study of famous theater artists, Growth mindset is a popular buzz word phrase used for a few years. At first, I wasn’t certain I knew what it was. Now that I’ve studied it, it’s a terrific philosophy.

Growth mindset is the belief that we can grow and change through education and practice. Some people don’t have a growth mindset, but one that is fixed. A fixed mindset looks at challenges and changes as a threat.

Recently, I’ve discovered I’ve always had a growth mindset I just didn’t realize it. In fact, I demonstrate it daily.

The Transformative Power When Students Apply Stage Makeup

When I was a student in the seventies, it would have helped immeasurably if someone taught us growth mindset. Instead we fumbled through our education learning about important people but never understanding the reasons to study them.

As a theater educator for over thirty-eight years, I discovered most of our students aren’t familiar with Broadway performers. They know the ones which are most popular as Lin Manuel Miranda, Ben Platt, Idina Menzel, and Kristin Chenoweth. Those are all performers.

Here is some news about Lin Manuel Miranda which is awesome!

https://www.broadwayworld.com/article/Lin-Manuel-Miranda-Family-Fund-Has-Committed-1M-To-Theater-Scholarships-For-Students-Of-Color-20200304

What about playwrights, composers, choreographers and designers? Or lesser known performers such as Billy Porter equally as important?

Check out my bundle of Famous Theater Artist biographies! This a smaller resource than the unit mentioned below.

Growth Mindset in the Study of Famous Theater Artists

I researched the subject of growth mindset and ran upon this article in Times Magazine, which states:

“The process of historical inquiry—and what it teaches students along the way—is history’s greatest reward. Studying history teaches that society is not stagnant. Studying history teaches us to question how and why things change, who drives those changes, whose interests are served by them and who gets left out of the equation. History teaches that human actions have consequences. Analysis of past events teaches students to ask probing questions, challenge preconceived assumptions and to recognize that humans have the capacity to be both very, very good and very, very cruel.

Analyzing historic documents teaches us to be careful readers. To be skeptical of one side of the story. To be aware of our own biases. Most critically, history teaches us who we are. I am a Jew, a New Yorker, a citizen of the United States, a grandchild of Holocaust survivors. These identities mean nothing without a historical backdrop to set them against. “We swim in the past as fish do in water,” wrote historian Eric Hobsbawm. “We cannot escape from it.”

Becoming Rigorous Thinkers

Historian historian Eric Hobsbawm continues, “Our students may not go on to all be historians, or even remember the hundreds of facts they learn in a given year. But through history they can become more disciplined and rigorous thinkers. They can be challenged to be more independent-minded analysts, and, I would argue, more compassionate human beings—skills that historical study inculcates and that lead directly to life and career success.”

Someone for Students to Admire

They allow you to stand on the shoulders of giants. In the 1670’s Sir Isaac Newton wrote in a letter to his friend Robert Hooke, “If I have seen further, it is by standing on the shoulders of giants.” That is exactly what reading biographies can do for you – allow you to see further because of what these people have achieved. Admittedly not every biography is about a “giant” but most are (and you can certainly pick from that list). However, even if the person you’re reading about is despicable and not worthy of praise or admiration, there likely are still many lessons to be gleaned from their life experiences and behaviors – even if most are “things you don’t want to do.”

They remind you that history repeats itself. George Santayana wrote in 1905, “Those who cannot remember the past are condemned to repeat it.” It was true long before then, it was true then and it hasn’t changed today. Reading about the real experiences of others gives context for the decisions and consequences that we all will face. History (recent or distant) will repeat itself because those who are making history were, and are, human beings. One of the best ways to take advantage of the experience of others is by reading biographies of historical figures, not academic tomes about history.

The Importance of Growth Mindset Study

They promote self discovery. A good self help or professional development book will outline specific steps, tools, techniques and approaches to try. These can be valuable and successful shortcuts to help you make improvements and get results in most any area of your life. A biography, on the other hand, won’t be as direct.

You will discover ideas and approaches on your own through the stories and experiences of others. This discovery learning process is often far more satisfying, and most always more lasting, than reading a list of steps.

Viewing the World with a Different Perspective

They allow you to see the world in new ways. Rather than being completely focused on your professional discipline, looking at the way you and your colleagues always look at things, reading about someone from a different era, a different background or a totally different set of life experiences will give you new perspective. In truth, most great innovations come from taking an idea from one situation, discipline or industry and adapting it to another. Reading biographies is one great way to do this.

They give you mentors at a distance.If you have read about the life of Abraham Lincoln, Gandhi, Churchill or anyone else you select, you have had a glimpse into their mind and now have the advantage or “knowing” them. These people can become your mentors at a distance, if you allow yourself the chance to think about what advice they might give you, or what they might do in a the situation or choice you are facing.”

Looking for posters for your classroom? Check some out here:

Growth Mindset Posters.

Pendants and Posters with Theater Artist quotes

Growth Mindset in the Study of Theater Artists

If you are interested in your students learning about growth mindset in theater artists, I have a unit for you: Growth Mindset Unit: Famous Theater Artists

I’m especially proud of this particular. I won’t lie–it took me about fifty hours to complete.

This unit (36 pages, 8-10 days) concerns growth mindset in professional theater artists. Students research a theater artist, answer questions about artist’s growth mindset, consider their own mindset and finish with a creative project. This unit was created for high school students, however it could be adapted for middle grade students.

The Product includes:

Letter to Teacher
Two Warm Ups: MY versions of Popular Theater Games and Exercises
The Rationale for Studying Theater Artists
The Rationale for Studying Growth Mindset Through Theater Artists
Teacher’s Script–What I Say and How I Say it!
Procedure for Each Day
Theater Artists List– EIGHTY-SIX Actors, Actresses, Playwrights, Choreographers, Directors, etc. (Great care and vetting was taken to select appropriate artists from various backgrounds.)
Project Choices Assignment Sheet–What is Expected in the Projects
THREE Rubrics (EDITABLE)–Slide, Object or Monologue
Exit Slip prompts for 8 days–Growth Mindset Questions for the Students to Ponder about Themselves
Video Clips
Source Page

Like this? You’ll find it here: Growth Mindset Posters

If you are home schooling your student, this would be a terrific unit for him or her, too! There’s so many different ways this can be used. A gifted middle school class could select one assignment of the three choices–with everyone making a slide presentation, for example. A high school drama, language arts or even psychology class might find this an interesting project. A unit which can be used by many different students in several grade levels and subjects is very valuable.

Here is a bundle of Famous Theater Artists which give you another way to teach about growth mindset. Famous Theater Artists

I hope you check it out and think it’s valuable, too!

What experiences do you have with growth mindset in yourself? That’s part of the focus of the unit. I’d love to hear from you.

If you are interested in other drama education products for high school, check out the Play Reading Analysis Presentation and Project.

Here’s another unit I think you might like: Tom Sawyer Study Guide and Unit

Contact me at dhcbaldwin@gmail.com or DeborahBaldwin.net

What is Quora Digest? How Did It Inspire Me as a Drama Teacher

April 10, 2019 By dhcbaldwin 1 Comment

Come From Away

What is Quora Digest? How did it Inspire Me as a Drama Teacher

How does it relate to musical theater? (In my world, everything relates to theatre somehow.)

According to their website, “Quora Digest is the method, Where Quora sends a daily email containing a set of questions with one answer that is deemed the best answer given a certain ranking requirements. In simple words, In Quora, the answer which is the best gets registered in Quora Digest.”

Pretty cool, huh?

Thanks to Quora, I have a new product line of lessons, Page to Stage.

I created the Page to Stage lessons about Broadway musicals, but they’re more than just the plot!

I sort of fell into Quora a few years ago.

I’m a Quora expert. Aren’t you impressed? Ha!

All that means is I answer questions which people send to me through Quora which pertain to theatre. Questions range anywhere from “What is the best Broadway musical?” to “I want to be on Broadway. How can I make that happen?”

It’s interesting answering the questions because the answers seem so obvious to me. I think there are people in the world who require a more personal touch rather than searching on the internet for the answer.

When I read the questions, they feel a little like we are sitting at a coffee shop and we just met.

Recently, a fellow asked me if I thought getting a theatre degree in college would make him employable. He enjoys working in lighting design in high school.

My answer was a resounding Yes!

Some of the most secure jobs in the theatre world are in the technical aspects. I advise students that if they truly want to be involved in theatre any way they can, once they graduate from college, look into technical theatre.

These are:

set design
costume design
lighting design
sound design
stage properties
stage management

Had I known then what I know now, I might have pursued stage management because it’s an all encompassing job, involving all areas of the production.

I have a bundle of units about technical theater for high school students. Check them out at: Bundle High School Units

Plus, once the show is up the SM takes over after the director moves on and keeps the show ticking away until it closes.

As a theatre goer, teacher, director and so on, I know the many occupations which come from having a theatre degree. But our students don’t know there is more than performing.

That’s where I come in.

What is Quora Digest?

I have answered the most questions about musicals. So, I got to thinking……

Introducing: Page to Stage Lessons

Page to Stage is a new Dramamommaspeaks product line of lessons concerning Broadway musicals and plays! They are available through my Teacherspayteachers store: Dramamommaspeaks

This one or two-day lesson can stand alone or be combined with one of my Famous Artist biographies. They are here: Bundle Famous Artists

Need a quick emergency lesson plan? Or one for a substitute? Everything is provided for the busy teacher.

This Product includes:

Letter to Teacher
Warm Up–MY Version of a Popular Physical Warm-Up
Teacher’s Script–what I say and how I say it!
Photos from the Broadway Production
Plot of the Musical
History about the Origination of the Production
Information concerning the composer, lyricist and playwright
Tony Awards it Received
What are the Tony Awards
New York City Map with Competing Theatres Labeled
Student Note Page
Teacher Note Page Key
Trivia
Quotes from the Musical–Good for Discussions and Assignments
Extension Activities–Terrific Suggestions of Ways to Secure the Learning and Enrich the Experience
Sources & Links to Film Clips from the Show
And More!

I have six lessons as of this writing.

Hadestown

The Prom

Dear Evan Hansen

SpongeBob SquarePants

Wicked

It is my hope I can shed light on the creative process theatre artists go through when they are developing a new musical.

I want to answer questions such as:

Who wrote the music?
Where did the script come from?
How long did it take to create the show?
Did the person who wrote the music also write the lyrics?

In time, I will offer plays, too!

What is really exciting and fun about these lessons is how timely they can be. Whatever musical is most popular at the time will be turned into a lesson for students. No waiting for someone to create a newspaper article or video about it! I can take care of it for you.

If you aren’t following me, please do so then you can be first to use the newest lesson with your students.

Do you ask questions through Quora? What is your favorite Broadway musical?

I’d love to hear from you.

Contact me at dhcbalwin@gmail.com or DeborahBaldwin.net

Don’t Ever Whistle in a Theater. Here’s Why

April 30, 2018 By dhcbaldwin 2 Comments

Don’t ever whistle in the theater. Here’s why.

We theater people are a superstitious bunch. At least, I am. I can scare myself merely walking to the bathroom in the dark in my own home. (Ridiculous, I know.)

It only makes sense if you think about it– we have HUGE imaginations if we are any good at all on the stage. There are certain things we simply do not do or say…

1. Never Whistle on Stage:

I was chastised once for whistling on stage. (I whistle if I can’t sing at the moment.) The history of this superstition was news to me. Many years ago, stagehands were out of work sailors. Ships used ropes. Theaters used a similar amount of ropes. Set pieces and people were raised and lowered in by rope, sand bags and fly systems.

Have you ever worked the rigging system of a theater? It’s tremendous, especially counter weight systems which are still pretty common.

Whistling was used to cue other men backstage to raise or lower ropes. So if you were onstage and whistled you might face a sand bag to the face. Luckily, we now have headsets.

2. Break a Leg

We never wish each other good luck. Instead we say, “Break a leg”. What? I knew it was of historical significance, but apparently there are several possible origins. One thought is it came from ancient Greek Theatre when audience members stomped a foot to show appreciation of a strong performance. (Must have been pretty dusty.) During the times of Vaudeville theatre, actors wished each other “Break a leg”, because if they made it on the stage past the curtain legs, they expected to be paid. We aren’t certain where this superstition originated, but we continue to wish each other a break of the leg.

3. Bad Dress Rehearsal Equals Good Opening Night

As a director and actress, I’ve experienced many a bad dress rehearsal. If you’ve been involved in any amount of productions you will, too. A bad final dress rehearsal is sign for a good opening performance. A good director paces the production to hit their peak at opening night. Everyone knows this.

It could be nerves of the cast and crew’s impending performance which makes for shaky dress rehearsals. They know what’s coming. I know one director who has no dress rehearsal and takes the night off right before the show opens. (He merely has it a day earlier.) Yikes!

His thought is performers are much like racing horses at the gates. With a night off prior to the opening night, it allows everyone to rest up, cogitate on their personal notes from the director and simply focus.

Maybe he’s hoping to ward off a bad dress rehearsal. Frankly, I’m all about sleep. I would rather have a longer dress rehearsal on a Tuesday night and a shorter one on Wednesday night so everyone can get some rest before a show opens on a Thursday night, than to stress out everyone with a extended dress rehearsal on a Wednesday.

4. Flowers Gifts:

It is expected for performers to be given flowers especially on opening night. Once this honor was given only on directors and leading performers, but it is common practice nowadays to show support and appreciation from family, friends, and fans.

So when is this bad? It is believed that receiving flowers before a show is as equally bad luck as saying break a leg. I never knew this!

I never allow my cast members to accept flowers on stage at the end of a curtain call. Tacky, tacky. Many years ago, we didn’t have florist shops. So, in order to obtain flowers nice enough for a gift and for a cheap price, people stole from graveyards.

The superstition comes in when you give performers flowers that are associated with death before a show closes that you were bringing about the death of a show. Flowers were given after the show closed to symbolize the death, or end, of a production.

5. The Ghost Light:

Let’s face it– a dark theater is a scary and treacherous place. There are lots of things to trip over, bump into, fall into an orchestra pit or damage set pieces easily. Most of the time the light switches for the backstage, or work lights is difficult to find even when other lights are lit.

While it might fend of pesky ghosts from playing tricks on shows, it also helps protect the unlucky few who are rummaging through the dark.

In an Equity theatre, the ghost light was the physical alert that you are no longer on the job. When a stage manager puts out the ghost light, he is signaling rehearsal or the performance is over for the evening and consequently no one will be paid after this moment.

6. The Scottish Play:

The last superstition is a wild one. What is the “The Scottish Play” you ask? It’s William Shakespeare’s Macbeth. Many of us believe mentioning this name or even quoting lines from this show will bring disaster upon ourselves and our production.

History abounds for this superstition. For instance, several famous actors (Charlton Hesten and Constantine Stanislavski) suffered catastrophes during or after a production of Macbeth. That’s a new one for me.

Also, it is said that Abe Lincoln read this play the night before his assassination.

Today, people associate its utterance to technical things going awry, actors forgetting lines, props and costumes mysteriously vanish, a freak storm closes the theater, and a bunch of other freaky weird things.

If you want to rid yourself of the curse, you must turn around eleven times and ask for forgiveness of Dionysis, the god of theater. This sounds ridiculous, but I don’t want to take the chance that it could be true.

So, here’s my question: What happens when one is performing Macbeth or directing it? You have to recite the lines then. Maybe it only works if you aren’t performing it?

Whatever. I don’t know about you, but I’m not taking any chances…

Please forgive me, please forgive me, please forgive me.

Contact me at dhcbaldwin@gmail.com or DeborahBaldwin.net

I’d love to hear from you!

Happy April Fool’s Day–Theatre Jokes to Make You Laugh

March 31, 2017 By dhcbaldwin Leave a Comment

Happy April Fools Day! Theatre Jokes to Make you Laugh

I created this blog post, Happy April Fool’s Day: Theatre Jokes to Make you Laugh, because who doesn’t like to laugh? These jokes are not mine. Credit goes to Whatsonstage.com and Goldenbeardrama.com.

I only compiled them from several sources, but for those in theatre…well, we get them. Enjoy!

Happy April Fool’s Day–Theatre Jokes to Make You Laugh

Two neighbors in Stratford claim that their home is the true birthplace of Shakespeare. Officials in Stratford proposed to solve the dispute by putting a plaque on both their houses.

Two deceased actors meet in heaven. One says: “Good grief, is that Trevor Nunn over there? I didn’t realize he was dead.” His acquaintance, who had a slightly longer experience of the afterlife, replied: “Oh no, that’s God- he just thinks he’s Trevor Nunn.” (I’ve known many an actor who thinks he’s God, trust me. Not only are they obnoxious, but hacks, too.)

Happy April Fool's Day

Happy April Fool’s Day–Theatre Jokes to Make You Laugh

Q: How do you drown an actress?
A: Put a mirror at the bottom of the pool.

Q: How many actors does it take to change a lightbulb?
A: Ten – one to hold the bulb and nine to say “it should be me up there”. OR…
A: One – the actor holds the lightbulb and the world revolves around him.

Q: How many directors does it take to change a lightbulb?
A: Hmmm… Lightbulb… Allow me to ponder the changing of the bulb.

(My daughter was in a Greek play while in college. The director read 38 adaptations of a play before he directed hers. It was horrible. Moral of the story: You can read 1,000 adaptations but if you aint’ got the talent to direct it, it doesn’t matter.)

Q: How many producers does it take to change a lightbulb?
A: Sorry, a new lamp isn’t in the budget.
(I know of one company who threw a very elaborate, expensive cast party, but denied a very dedicated, always responsible volunteer a complimentary ticket saying, “It was too expensive to give you one.” ????

Q: How many lighting designers does is take to change a lightbulb?
A: None. It’s a carefully orchestrated blackout.

(Never, never make the lighting designer or crew angry. They can easily put you in the dark because of it.)

Happy April Fool's Day

April Fools Day Theater Jokes for Theater People

An actor without technicians is a naked person, standing on a bare stage, in the dark, trying to emote. A technician without actors is a person with saleable skills.

A stage manager, a sound technician and a lighting designer find a bottle in a corner of the theatre. One of them rubs it and a genie pops out. “Since you all found me,” he says “you each get one wish.” The sound technician steps up and says, “I’d like a million pounds and three beautiful women.” POOF! The sound tech is gone. The lighting designer steps up and says, “Well, if he can have that, I’d like TEN million pounds, and my own personal island with 15 beautiful women!” POOF! The lighting designer is gone. The stage manager steps up and says, “I’d like them both back in ten minutes.”

If “All the world’s a stage, and all the people merely players”… who the **** has my script?

This one is spot on…

19 Jokes That Only True Theatre Nerds Will Understand

More Theatre Jokes for April Fool’s Day

(There is no one more hysterical or dramatic (pun intended) than an actor who can’t find his script, unless they are the overly confident actor who paraphrases anyway.)

Theatrical Logic

In is down, down is front

Out is up, up is back

Off is out, on is in

And of course-

Left is right and right is left

A drop shouldn’t and a

Block and fall does neither

A prop doesn’t and

A cove has no water

Tripping is OK

A running crew rarely gets anywhere

A purchase line buys you nothing

A trap will not catch anything

A gridiron has nothing to do with football

Strike is work (In fact a lot of work)

And a green room, thank god, usually isn’t

Now that you’re fully versed in Theatrical terms,

Break a leg.

But not really.

THE ACTOR’S LESSONS of DESTRUCTION

1. Compromise your principles early and get it over with.

2. Memorize all of the songs from “Cats.”

3. Wear as much spandex as possible to auditions.

4. Wear lots of “comedy and tragedy” accessories.

5. Take your art WAY too seriously.

6. Misquote Shakespeare.

7. If a director doesn’t invite you to callbacks, assume it’s a mistake and go anyway.

8. When you get to callbacks, ask the director “Will this take long?”

9. No matter how many conflicts you have, reply “none.” Hey, it can all be worked out in the end.

10. Overemphasize the lines they laugh at.

11. Mistreat props. Lose them. Take them home with you.

12. Tip the director.

13. Repeatedly ask techies, “Will this be ready by the opening?”

14. Assume the stage manager is there to clean up after you..

15. Stay up late power drinking before early morning calls.

16. Pause for so long after your monologue that they can’t tell if you are done or not.

17. Remember, although you can always be replaced, they can’t replace you until you’ve done a LOT of damage.

18. When your character isn’t talking, mug.

19. Why be onstage when you can upstage?

20. For a touch of realism, upstage yourself.

21. Give fellow actors advice on how to do their characters.

22. If you can’t get a grasp of your character, just do Jack Nicholson.

23. Blocking is for amateurs.

24. Eye contact is for actors afraid to stand on their own.

25. It’s not the quality of the role, it’s what you get to wear.

26. Wear all black and hang out in coffee houses.

27. Change your blocking on opening night.

28. Remember: frontal nudity gets you noticed faster.

29. Use your tongue to make stage kisses look “real.” Blech!

30. Break a leg. Literally.

Happy April Fool's Day

Theatre Jokes: The Actor’s Vocabulary (Edited)

ETERNITY: The time passes between a dropped cue and the next line.

PROP: A hand-carried object small enough to be lost by an actor exactly 30 seconds before it is needed on stage.

DIRECTOR: An individual who suffers from the delusion that they are responsible for every moment of brilliance cited by the critic in the local review.

BLOCKING: The art of moving actors on the stage in such a manner so as to have them not collide with the walls, furniture, or each other, nor descend precipitously into the orchestra pit. Similar to playing chess, with the exception that, here, the pawns want to argue with you.

BLOCKING REHEARSAL: A rehearsal taking place early in the production schedule where actors frantically write down movements which will be nowhere in evidence by opening night.

QUALITY THEATRE: Any show with which one was directly involved.

TURKEY: Any show with which one was NOT directly involved.

DRESS REHEARSAL: The final rehearsal during which actors forget everything learned in the two previous weeks as they attempt to navigate the 49 new objects and set pieces that the set designer/director has added to the set at just prior to the DRESS REHEARSAL.

TECH WEEK: The last week of rehearsal when everything that was supposed to be done weeks before finally comes together at the last minute. This week reaches its grand climax on DRESS REHEARSAL NIGHT when costumes rip, a dimmer pack catches fire and the director has a nervous breakdown.

SET: An obstacle course which, throughout the rehearsal period, defies the laws of physics by growing smaller week by week while continuing to occupy the same amount of space.

MONOLOGUE: That shining moment when all eyes are focused on a single actor who is desperately aware that if they forget a line, no one can save them.

More Theatre Joke Definitions

BIT PART: An opportunity for the actor with the smallest role to count everybody else’s lines and mention repeatedly that they have the smallest part in the show.

GREEN ROOM: Room shared by nervous actors waiting to go on stage and the precocious children whose actor parents couldn’t get a baby-sitter that night, a situation which can result in justifiable homicide.

STAGE MANAGER: Individual responsible for overseeing the crew, supervising the set changes, baby-sitting the actors and putting the director in a hammerlock to keep him from killing the actor who just decided to turn their walk-on part into a major role by doing magic tricks while they serve the tea.

LIGHTING DIRECTOR: Individual who, from the only vantage point offering a full view of the stage, gives the stage manager a heart attack by announcing a play-by-play of everything that’s going wrong.

ACTOR [as defined by a set designer]: That person who stands between the audience and the set designer’s art, blocking the view.

STAGE RIGHT/STAGE LEFT: Two simple directions actors pretend not to understand in order to drive directors batty. (e.g. “…No, no, your OTHER stage right!!!!”)

MAKE-UP KIT: (1) [among experienced Theater actors]: a battered tackle box loaded with at least 10 shades of greasepaint in various stages of desiccation, tubes of lipstick and blush, assorted pencils, bobby pins, braids of crepe hair, liquid latex, old programs, jewelry, break-a-leg greeting cards from past shows, brushes and a handful of half-melted cough drops; (2) [for first-time male actors]: a helpless look and anything they can borrow.

CREW: Group of individuals who spend their evenings coping with 50-minute stretches of total boredom interspersed with 30-second bursts of mindless panic.

MESSAGE PLAY: Any play which its director describes as “worthwhile,” “a challenge to actors and audience alike,” or “designed to make the audience think.” Critics will be impressed both by the daring material and the roomy accommodations, since they’re likely to have the house all to themselves.

ASSISTANT DIRECTOR: Individual willing to undertake special projects that nobody else would take on a bet, such as working one-on-one with the brain-dead actor whom the rest of the cast and crew (including the director) has threatened to take out a contract one.

And finally, remember this: “It’s only theater until it offends someone…then it’s ART!”

Happy April Fool’s Day!

Do you know any funny theatre jokes good for April Fool’s Day or any day, really? ? I’d love to learn them.

I have quite a sense of humor myself. If you’d like to see any evidence of it. Check out this lesson:

The Brave Little Tailor

Contact me at dhcbaldwin@gmail.com or DeborahBaldwin.net

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Don’t ever whistle in the theater. Here’s why.

We theater people are a superstitious bunch. At least, I am. I can scare myself merely walking to the bathroom in the dark in my own home. (Ridiculous, I know.)

It only makes sense if you think about it– we have HUGE imaginations if we are any good at all on the stage. There are certain things we simply do not do or say…

1. Never Whistle on Stage:

Have you ever worked the rigging system of a theater? It’s tremendous, especially counter weight systems which are still pretty common.

Whistling was used to cue other men backstage to raise or lower ropes. So if you were onstage and whistled you might face a sand bag to the face. Luckily, we now have headsets.

2. Break a Leg

3. Bad Dress Rehearsal Equals Good Opening Night

It could be nerves of the cast and crew’s impending performance which makes for shaky dress rehearsals. They know what’s coming. I know one director who has no dress rehearsal and takes the night off right before the show opens. (He merely has it a day earlier.) Yikes!

His thought is performers are much like racing horses at the gates. With a night off prior to the opening night, it allows everyone to rest up, cogitate on their personal notes from the director and simply focus.

4. Flowers Gifts:

It is expected for performers to be given flowers especially on opening night. Once this honor was given only on directors and leading performers, but it is common practice nowadays to show support and appreciation from family, friends, and fans.

So when is this bad? It is believed that receiving flowers before a show is as equally bad luck as saying break a leg. I never knew this!

I never allow my cast members to accept flowers on stage at the end of a curtain call. Tacky, tacky. Many years ago, we didn’t have florist shops. So, in order to obtain flowers nice enough for a gift and for a cheap price, people stole from graveyards.

The superstition comes in when you give performers flowers that are associated with death before a show closes that you were bringing about the death of a show. Flowers were given after the show closed to symbolize the death, or end, of a production.

5. The Ghost Light:

Let’s face it– a dark theater is a scary and treacherous place. There are lots of things to trip over, bump into, fall into an orchestra pit or damage set pieces easily. Most of the time the light switches for the backstage, or work lights is difficult to find even when other lights are lit.

While it might fend of pesky ghosts from playing tricks on shows, it also helps protect the unlucky few who are rummaging through the dark.

In an Equity theatre, the ghost light was the physical alert that you are no longer on the job. When a stage manager puts out the ghost light, he is signaling rehearsal or the performance is over for the evening and consequently no one will be paid after this moment.

6. The Scottish Play:

The last superstition is a wild one. What is the “The Scottish Play” you ask? It’s William Shakespeare’s Macbeth. Many of us believe mentioning this name or even quoting lines from this show will bring disaster upon ourselves and our production.

History abounds for this superstition. For instance, several famous actors (Charlton Hesten and Constantine Stanislavski) suffered catastrophes during or after a production of Macbeth. That’s a new one for me.

Also, it is said that Abe Lincoln read this play the night before his assassination.

Today, people associate its utterance to technical things going awry, actors forgetting lines, props and costumes mysteriously vanish, a freak storm closes the theater, and a bunch of other freaky weird things.

If you want to rid yourself of the curse, you must turn around eleven times and ask for forgiveness of Dionysis, the god of theater. This sounds ridiculous, but I don’t want to take the chance that it could be true.

So, here’s my question: What happens when one is performing Macbeth or directing it? You have to recite the lines then. Maybe it only works if you aren’t performing it?

Whatever. I don’t know about you, but I’m not taking any chances…

Please forgive me, please forgive me, please forgive me.

Contact me at dhcbaldwin@gmail.com or DeborahBaldwin.net

I’d love to hear from you!

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Happy April Fool’s Day–Theatre Jokes to Make You Laugh

Happy April Fool’s Day–Theatre Jokes to Make You Laugh

April Fools Day Theater Jokes for Theater People

More Theatre Jokes for April Fool’s Day

Theatrical Logic

In is down, down is front

ETERNITY: The time passes between a dropped cue and the next line.

PROP: A hand-carried object small enough to be lost by an actor exactly 30 seconds before it is needed on stage.

DIRECTOR: An individual who suffers from the delusion that they are responsible for every moment of brilliance cited by the critic in the local review.

BLOCKING: The art of moving actors on the stage in such a manner so as to have them not collide with the walls, furniture, or each other, nor descend precipitously into the orchestra pit. Similar to playing chess, with the exception that, here, the pawns want to argue with you.

BLOCKING REHEARSAL: A rehearsal taking place early in the production schedule where actors frantically write down movements which will be nowhere in evidence by opening night.

QUALITY THEATRE: Any show with which one was directly involved.

TURKEY: Any show with which one was NOT directly involved.

DRESS REHEARSAL: The final rehearsal during which actors forget everything learned in the two previous weeks as they attempt to navigate the 49 new objects and set pieces that the set designer/director has added to the set at just prior to the DRESS REHEARSAL.

TECH WEEK: The last week of rehearsal when everything that was supposed to be done weeks before finally comes together at the last minute. This week reaches its grand climax on DRESS REHEARSAL NIGHT when costumes rip, a dimmer pack catches fire and the director has a nervous breakdown.

SET: An obstacle course which, throughout the rehearsal period, defies the laws of physics by growing smaller week by week while continuing to occupy the same amount of space.

MONOLOGUE: That shining moment when all eyes are focused on a single actor who is desperately aware that if they forget a line, no one can save them.

More Theatre Joke Definitions

BIT PART: An opportunity for the actor with the smallest role to count everybody else’s lines and mention repeatedly that they have the smallest part in the show.

GREEN ROOM: Room shared by nervous actors waiting to go on stage and the precocious children whose actor parents couldn’t get a baby-sitter that night, a situation which can result in justifiable homicide.

LIGHTING DIRECTOR: Individual who, from the only vantage point offering a full view of the stage, gives the stage manager a heart attack by announcing a play-by-play of everything that’s going wrong.