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How to Teach Research in Drama Class the Easy Way

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

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

How to Teach Research in Drama Class the Easy Way

What “Arts Research” Really Means in Drama

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

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

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

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

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

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

How to Teach Research in Drama Class the Easy Way

1. Research Through Character, Not a Report

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

Classroom Strategy

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

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

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

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

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

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

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

Set Design

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

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

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

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

Costume Design

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

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

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

Sound & Foley

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

You’ll hear students say things like:

“I chose this because I found out that…”

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

Photo 2

3. Musical Theater as an Arts Research Goldmine

Musicals are packed with built-in research opportunities.

Students can explore:

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

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

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

Try This

Have students answer one guiding question before performing or reading:

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

Suddenly, students are researching like directors, not students.

How to Teach Research in Drama Class the Easy Way

4. Research Through Voice: Radio Theater & Tableaux

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

Radio Theater

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

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

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

How to Teach Research in Drama Class the Easy Way

Tableaux

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

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

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

How to Teach Research in Drama Class the Easy Way

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

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

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

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

How to Teach Research in Drama Class the Easy Way

A Simple Structure You Can Reuse All Year

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

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

This keeps research active, not passive.

How to Teach Research in Drama Class the Easy Way

Why This Matters for Reluctant Learners

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

“How long does this have to be?”

And start asking:

“Can I change this idea?”

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

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

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

Research in Drama Classroom Takeaway

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

It belongs in:

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

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

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

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

Deb

Working with students at Presser Performing Arts Center

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

Click the image below and check out my new book! Or click here:  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

Woman behind DramaMommaSpeaks

Boost Drama Class with These 5 Teacher Favorites

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Boost Drama Class with These 5 Teacher Favorites

To begin with, as theater teachers, we often face a familiar set of challenges: limited prep time and diverse student needs. Plus, these are coupled  with th desire to build a strong classroom community while still hitting learning goals. How can we do that? What resources will it require?  Let’s discuss how to boost drama class with these five teacher favorites!  Whether you’re just starting out or looking to refresh your curriculum, the right resource can make all the difference.

Over time, I’ve created and refined dozens of drama education materials that aim to solve these challenges. These aren’t just popular—they’ve been tested by real teachers and praised for how well they support classroom success. (Proof of Concept?  To date, over 23,000 teachers have purchased from my Dramamommaspeaks store.)

Boost Drama Class with These 5 Teacher Favorites

Boost Drama Class with These 5 Teacher Favorites

1. Drama Ice Breakers and Ensemble Builders

Why it helps:
A strong ensemble is the heartbeat of any theater classroom. These ice breakers and team-building games are more than just “fun activities”.  They teach students how to collaborate, listen actively, and take creative risks in a low-pressure environment. I’ve used these same  for questions for years to help my students become confident and connected performers.

What’s included:

  • Engaging warm-ups for all experience levels
  • Games that promote trust and communication
  • Easy-to-follow instructions for quick implementation

As a result, this is a teacher favorite because:
They save you time and get your students up and moving—essential in the first few weeks of school.

One reviewer wrote, “These helped my students open up immediately and created a supportive classroom culture.”

Boost Drama Class with These 5 Teacher Favorites

Boost Drama Class with These 5 Teacher Favorites

Daily Drama That Delivers: Engage Every Student, Every Day

2. Morning Meeting Bell Ringers: Tony Award-Winning Plays

Why it helps:
These 24 bell ringers bring Broadway into your classroom through bite-sized lessons that celebrate Tony award-winning plays. Each includes a brief synopsis, the awards it won, and a thoughtful question to encourage discussion or journal writing. In addition, they’re great for daily warm-ups or as part of a broader curriculum on theater history.

What’s included:

  • 24 ready-to-use slides
  • Tony-winning play summaries and awards
  • Video clip links for reference
  • Critical thinking questions to prompt student reflection

Teacher favorite because:
They introduce important theatrical works without adding to your prep load. Consequently, students get exposed to a wide range of plays, and teachers love the simplicity and depth. “These were a great way to start my class and got my students talking about theater right away,” one educator said.

Boost Drama Class with These 5 Teacher Favorites

3. Radio Theater Unit

Why it helps:
This unit taps into the often-overlooked world of radio drama.  It is ideal for classrooms with limited space or performance anxiety. Students learn about sound effects, vocal inflection, and character development. Lastly, they create and perform their own radio commercials. Pick up one of my radio play scripts and you’ve got three weeks of learning!

What’s included:

  • A full unit guide with daily procedures for 12 days
  • Warm-ups and vocal exercises
  • Radio play scripts and sound design activities

Altogether, this is a teacher favorite because:
It combines performance, technical design, and storytelling into one seamless unit. One teacher shared, “My class LOVED this! It allowed even shy students to shine and brought a new energy to our drama time.”

Boost Drama Class with These 5 Teacher Favorites

Connect with Culture and Creativity

4. The Story of Lin-Manuel Miranda: Read-Aloud Biography Unit

Why it helps:
Students are always more engaged when they can relate to the subject. This biography of Lin-Manuel Miranda—complete with prompts and journaling ideas—makes for a great literacy integration!  Plus, it’a super jumping-off point for conversations about creativity, diversity, and perseverance. 

What’s included:

  • A read-aloud biography concerning his life, education, journey to Broadway and accolades he’s won
  • Student discussion questions
  • Journal writing prompts for reflection and connection

Teacher favorite because:
It inspires students with a story they care about while encouraging thoughtful writing. Additionally, teachers often use this during Hispanic Heritage Month, literacy blocks, or between units. One teacher remarked, “My students really enjoyed this lesson. The resources were great and they loved putting together the rap!”

Check out this blog post for other famous Broadway actor biographies: Teaching Stage Legends: Burnett, Andrews, Jones, and Van Dyke

Boost Drama Class with These 5 Teacher Favorites

5. Costume Design for Beginners

Why it helps: Costume design is a fantastic entry point into technical theater.  Furthermore, it helps students think critically about character, mood, and time period. This beginner-friendly unit introduces students to the basics of costume design through research, drawing, and hands-on activities.

What’s included:

  • Introduction to costume design principles
  • Guided drawing and analysis assignments
  • Creative prompts for designing original character costumes

Teacher favorite because: It taps into visual learning and creativity while supporting script analysis and design thinking. One teacher noted, “This was a perfect way to engage students who love art and fashion while still connecting back to theater concepts.”

Pick up a FREE holiday parade costume design lesson here:

In Conclusion

Lastly,  you’re looking for materials that are trusted, easy to implement, and designed with teachers in mind, give these a try. Check out this post for additional resources which can help you:  5 Easy Drama Games for Emergency Sub Plans

Have a favorite you’d like me to feature next? Drop me a message—I love hearing how these resources work in your classroom. Also, I’m so pleased to announce that my blog is one of the top 5 for drama teachers in the world. 

Learn more here:

This may contain: the top drama teacher blog badge with gold stars on it and text reading top drama teacher blog

Deborah Baldwin of Dramamommaspeaks
When I portrayed MIss Prism in The Importance of Being Earnest

Deb

Theater Books Every Drama Teacher Should Own

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Theater Books Every Drama Teacher Should Know

From time to time, I read of teachers having  funds left nearing the end of the year.  They are frantically trying to spend any left over funds in their budget.  If you aren’t familiar with this kind of fervor.   Please know this–many times if a teacher does not use up their budget, it is given to someone else! And we don’t want that to happen, now do we?

Usually, I suggest items such as rehearsal boxes, makeup kits, a light tree, etc.  But today I’m blogging only about books I recommend you collect for your teaching library.  Here is a list of my ” Theater Books Every Drama Teacher Should Own”.

When I began teaching like a hundred years ago, there weren’t too many resources from which to teach.  Of course, we had play anthologies, but nothing much for the day-to-day class.  No one had ventured into teaching young students yet.  I mean, this was 1980!  If you’d like more information about that journey, check out: How to Make Your Drama Class Successful-Lessons Learned from 38 Years of Teaching High School.

Now you can find many books focusing on particular grade levels.  I’ve included several for each grade level here.

Theater Books Every Drama Teacher Should Own

Theater Books Every Drama Teacher Should Own

 Theater Games for the Classroom by Viola Spolin–This theater book is absolutely essential for you (and a personal favorite of mine), especially if you are teaching elementary or middle school students.  This best-selling book by Viola Spolin offers the most comprehensive theater instruction for all types of students, from small children to young adults. It includes over 130 theater games, plus exercises and instructional strategies. First developed by Spolin, the originator of modern improvisational theater techniques, these games have been tried and tested for over fifty years. I’ll tell you a secret–most of the books that are published about warm up games and exercises used this one as a stepping off point for theirs!  In other words, go to the original source.

Theater Books Every Drama Teacher Should Own

2. Multicultural Plays for Children Volume 2 by Pamela Gerke–When I taught middle school students a pre-elective course, I used several plays from this theater book collection. These excellent dramatic adaptations of 10 folktales from various countries and cultures will help fill that void. Most importantly I think each play is based on a story from the oral tradition that has retained.  Consequently through many alterations across time, these plays share a core of truth about human nature and life.

Furthermore, this book includes a substantial introductory section that addresses many concerns: adapting a play for various cast sizes; changing gender, setting, and length; vocal-projection exercises and theater games; plus many useful suggestions for production.

Also, each play has detailed directions for creating sets, props, costumes.  In addition, it includes a realistic timetable for rehearsals and other production needs, and a pronunciation guide. Talk about really helpful for a teacher!  Music is included, as is extensive information about some cultures that will extend and enrich the experience for children. Included:  The Comedy of Errors, Hamlet, Macbeth, The Merchant of Venice, Othello, Romeo and Julie, and The Tempest, etc. 

Theater Books Every Drama Teacher Should Own

Inspire Movement Through Story and Song

3. Lesson Plans for Creative Dance: Connecting with Literature, Arts and Music by Sally Carline–Children love to express themselves through movement—and with this great new resource, you can guide them through a range of actions and dances that will help them develop both physically and mentally. This theater book is a resource for physical educators, classroom teachers, and dance specialists as well as a useful supplement to college level elementary education courses.
Additionally, author Sally Carline has tested and refined the creative movement activities that she has prepared for educators and for preservice teachers. She includes background material that will ground you in understanding how to best teach and incorporate movement activities in a variety of classes and settings. Check out this blog post for more information: Creative Movement: Elementary and Middle School Teachers – Ready to Move?
Beautiful Stories from Shakespeare for Children

  4.Beautiful Stories for Children by Edith Nesbit -When I taught an introduction to Shakespeare course, I used this theater book with  middle schoolers.  We read the stories, minus Shakespeare’s play versions. William Shakespeare is arguably the most pivotal and widely read figure in the history of English literature. This comprehensive collection highlights some of the bard’s best works. Plus, they have been adapted to be more easily read and digestible for children.

Included are the stories of A Midsummer Night’s Dream, The Tempest, As You Like It, The Winter’s Tale, King Lear, Twelfth Night, Much Ado About Nothing, Romeo and Juliet, Pericles, Hamlet, Cymbeline and Macbeth. Also, included are the stories of The Comedy of Errors, The Merchant of Venice, Timon of Athens, Othello, The Taming of the Shrew, Measure for Measure, Two Gentlemen of Verona, All’s Well That Ends Well.

Theater Books Every Drama Teacher Should Own

Acting from the Inside Out: Tools for Voice, Body, and Imagination

5. Building a Character–Building a Character by Constantin Stanislavski is one of the three volumes that make up Stanislavski’s The Acting Trilogy. An Actor Prepares explores the inner preparation an actor must undergo in order to explore a role to the full. In this volume, Sir John Gielgud said, this great director “found time to explain a thousand things that have always troubled actors and fascinated students.”

Building a Character discusses the external techniques of acting: the use of the body, movement, diction, singing, expression, and control. Plus, it describes the preparation that precedes actual performance. This theater book includes extensive discussions of Gogol’s The Inspector General and Shakespeare’s Othello. Lastly, Sir Paul Scofield called Creating a Role “immeasurably important” for the actor.

Additionally, If you are ready to teach Stanislavski’s methods, check out: Theater of Acting Unit The Konstantin Stanislavski Acting Styles Method Memory

Theater Books Every Drama Teacher Should Own

 

6.  We’re Live! Radio Theater #101 by Deborah Baldwin–Written by me, this theater book is the ultimate resource for drama teachers looking to introduce students to the exciting world of radio theater. Designed for grades 2–12, this book walks educators through the process of creating, rehearsing, and performing radio plays. And with no costumes or sets required!  Inside, you’ll find student-friendly scripts, production tips, voice acting techniques, and simple sound effect ideas that bring stories to life using only imagination and sound.

Whether you’re tight on time, space, or resources, We’re Live! offers a creative and flexible way to engage students in storytelling, collaboration, and performance. It’s perfect for in-class use, distance learning, or even podcast projects. Lastly, my book guides and empowers teachers to step into the role of radio director and help students shine—mic in hand and voices ready!

7. Curtains Up! Theatre Games and Storytelling by Robert Rubinstein– If you teach students in upper elementary and middle school, this would be one of the first books I’d suggest to you.  I learned about it at a MSTA convention (sponsored by Educational Theatre Association) many years ago. Theatre games help to develop students’ skills in storytelling, improvisation, and public speaking. They also build confidence, teamwork, and vocabulary. This is a collection of theatre games which have been classroom tested. Try the collaborative and fun activity “The Monster with Three Heads.” Pick up a copy of this exercise here: Three Headed Monster. I guarantee you, your students will love it!

Looking for free lessons?  Check out: Free Stuff!

What theater books would you suggest to a theater teacher?  I’d love to include it in a blog post planned for the near future.  Just contact me at DhcBaldwin@gmail.com

Click here:  We’re Live! Radio Theater #101

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Scary Radio Plays for High School Students to Perform

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Adapting spooky radio plays for high school students to perform is a skill in which I excel. I’ve adapted short stories, folk tales and even original works for over thirty-eight years. In that time, I found that high school love to scare themselves and others.  However, before we do so, let’s talk about royalties.  There are no royalties to pay if you use my scripts.  I’d appreciate either a resource review or mention in your program if you produce this for the public.

Did you know I have the secret to boosting student engagement?  My new book, “We’re Live! Radio Theater #101” explains my journey to implementing this unique tool in the classroom. Check it out here or pick up a FREE sample here.

Now let’s get to the scoop-

Frankenstein’s Mystery

Scary Radio Plays for High School Students to Perform

Frankenstein’s Mystery is an electrifying radio play that resurrects Mary Shelley‘s timeless tale in a mesmerizing audio experience,  combining classic storytelling with the dynamic world of radio theater. This production offers a comprehensive package that not only delivers a riveting performance but also provides valuable resources for directors, actors, and educators. If you decide to perform for the public, there are no royalties to pay.

The Story:

Frankenstein’s Mystery begins where the original story leaves off. Victor Frankenstein brings to life his monster much to the surprise of his beautiful fiancé, Elizabeth, and a party of scientists and esteemed professors. Everyone is impressed and this makes Frankenstein proud.  However, there is one fatal flaw in the monster which Frankenstein hadn’t considered–the monster is lonely and will do anything to get a friend.

Scary Radio Plays for High School Students to Perform

The Product

A Note to the Director: Immerse yourself in the director’s guide, providing insights into the creative vision, thematic exploration, and directorial tips to bring the production to life.

Mary Shelley – A Short Bio: Gain a deeper understanding of Shelley, the prolific author whose works have inspired this radio play. Explore the background that shaped her literary contributions.

Adapted Specifically for the Classroom: Having taught and directed for over thirty-eight years, I know a teacher’s challenges when needing a script for a large number.

Sound Effects List and Suggestions: Access a curated list of live sound effects crucial for creating an immersive audio experience. Receive expert suggestions on how to effectively integrate these sounds to enhance the drama. Many a reluctant students has enjoy participating by using the live sound effects.  Need a lesson about sound effects? Check it out here.

Cover of free checklist of radio theater live sound effects.

More Handouts in the Radio Play Resource

Music Suggestions with Links: Elevate the auditory experience with carefully selected music suggestions accompanied by links. Explore the synergy between soundscapes and storytelling.

How to Stage a Radio Play with Floor Plan: Navigate the logistics of radio theater production with a detailed floor plan guide. Maximize the potential of your space while adhering to the unique requirements of staging a radio play.

Radio Theater Terms: Familiarize yourself with essential radio theater terminology, including terms like “up and under.” Enhance your understanding of the technical aspects that contribute to a seamless production.

20-Page Radio Play Script: Immerse yourself in a captivating script, meticulously crafted by an award-winning author. The script includes sound and music cues, providing a comprehensive framework for a compelling performance.

Corny Commercials: Inject humor and authenticity into the play with three corny commercials. Alternatively, customize the commercials by incorporating your students’ own creations, adding a personalized touch to the production.

“Frankenstein’s Mystery” is not just a radio play; it’s a complete theatrical package designed to empower directors, engage actors, and captivate audiences through the artistry of radio theater. Dive into a world where the lines between imagination and reality blur, and the power of sound reigns supreme.

The Monkey’s Paw

Scary Radio Plays for High School Students to Perform

How about a radio drama script adapted from W.W. Jacob’s class, gothic story, The Monkey’s Paw? 

This twenty-five script has 23 +roles (including crew) and was adapted especially for the classroom. Strengthen your students’ listening, speaking, and reading skills all at once. It’s a one stop shop!

“The Monkey’s Paw” is a horror short story by English author W. W. Jacobs, first published in the collection The Lady of the Barge in 1902. In the story, three wishes are granted to the owner of The Monkey’s Paw, but the wishes come with an enormous price for interfering with fate.

Like the Frankenstein resource, this resources everything you’d need to be successful.  Would it be nice to ease your burden knowing you’ve got a lesson which works every time?

The Cast of Amontillado

The Cask of Amontillado radio theater unit adapted by Deborah Baldwin

Adapted from Edgar Allen Poe’s classic, gothic story, The Cask of Amontillado, this script has 15 + roles (plus crew) and was written especially for the upper middle school classroom!

The Cask of Amontillado is a story of revenge, deceit, and murder, as Montresor tricks a drunk Fortunato by trapping him inside an ancient catacomb. Poe’s story uses irony in the writing elements of his characters and setting.

I like to include information in my resources which students may not be aware. This resource includes information about the catacombs.  If you’d like to learn more about how to use radio theater effectively, check out: Ten Facts About Radio Theater That Will Blow Your Mind

Scary Radio Plays for High School Students to Perform

Why do we like to frighten ourselves?

According to an article in Forbes.com, “You get an adrenaline rush. Experiencing fear triggers the body’s fight, flight or freeze response, leading to the release of adrenaline. This can be exhilarating and pleasurable for many people, as it can make them feel more alert and alive.”

“The gene associated with the reward neurons in the amygdala is involved in dopamine signaling — and dopamine is the neurotransmitter responsible for pleasure. It is not just dopamine and oxytocin that contribute to the post-scare high. People also experience a rush of endorphins following a scare.” Thanks to Medicalnewstoday.com for this bit of wisdom.

Scary Radio Plays for High School Students to Perform

Looking for something FREE from Dramamommaspeaks?  Pick up this handy  free checklist of live sound effects websites.

Still not convinced? 

Dramamommaspeaks

Read what others think:

This is such a wonderfully funny script! My students absolutely loved acting out this play as a class! Fun, engaging, and very well written!
— Madison M.
Rated 5 out of 5
Thank you for these fun activities. My students are really going to enjoy acting out this Radio Play. You are my one-stop shop for all things drama!
— Jodie N.
Rated 5 out of 5
This was a super resource (Radio Theater Unit)  that provided an engaging drama activity. I appreciated that all links were included! Different and engaging!
— Stacey W.
Rated 5 out of 5
I adapted this Bow Wow Blues Unit  for the last 2 weeks of class so we mostly worked with the sound effects, but they really liked it. It was especially helpful for my EL students because they can participate without anxiety. I plan to use the full unit next semester. Great resource!
— Mary Angela H.
Rated 5 out of 5
Lastly, I challenge you to surprise your students with a radio theater unit! I think you’ll be surprised by their engagement and enjoyment in using their imaginations.
What radio theater plays have you produced?  How did it work for you?  I’d love to hear from you.  Just email DhcBaldwin@gmail.com