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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

Afraid to Teach Devising Theater in Your Classroom?

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Afraid to Teach Devising Theater in Your Classroom?

Afraid to Teach Devising Theater in Your Classroom?

If the words “Let’s devise a scene!” make your students stare back at you like deer in headlights—you’re not alone.  Many teachers are afraid to teach devising theater in the classroom.  I, for one, understand! It can feel abstract or a little chaotic at first. To be honest, I felt that way, too. But once you learn how to guide it, devising becomes one of the most rewarding tools in your drama classroom.

In my forty years of directing and teaching, I’ve found that devising builds confidence, collaboration, empathy, and creativity faster than almost anything else we do. Students suddenly realize that they are the playwright, the designer, and the performer. They have ownership—and that’s where the magic happens. Until you try devising theater with your students, you won’t believe how much engagement is derived from it.

Let’s break down a clear, classroom-ready way to use devising theater with your students.

Afraid to Teach Devising Theater in Your Classroom?

Afraid to Teach Devising Theater in Your Classroom?

When I was in college, this might have be called a structured improv., although this is more comprehensive. Devising theater is the process of creating an original performance as an ensemble. Instead of beginning with a script, students generate material through improvisation, movement, images, personal stories, character exploration, or thematic prompts.

The script—and sometimes even the structure—emerges from the group’s discoveries. It’s part improv, part writing workshop, part ensemble building, and completely student-driven. That last part is a double edged sword.  Giving the students ownership of their theater piece is exciting.  However, on the other hand, it can be nerve wracking.

Afraid to Teach Devising Theater in Your Classroom?

Why Should Drama Teachers Teach Devising Theater?

Devising naturally supports:

  • Student ownership of ideas
  • Ensemble building and trust
  • Creative risk-taking
  • Collaboration and communication skills
  • Social–emotional learning
  • Cross–curricular connections (social studies, ELA, history, even science)

And best of all—students who don’t see themselves as “actors” often thrive here. In many ways, it is non-threatening and that’s a big plus for reluctant students.

Afraid to Teach Devising Theater in Your Classroom?

Step 1: Start with a Strong Stimulus

This is the most important phase, in my opinion.  A stimulus gives students something to respond to. This is the single best way to avoid chaos. Without it, the students have a tendency to float around from idea to idea never coming to a conclusion until it is usually too late. For example, one time I observed two boys play around with some fur pieces I’d put in a box.  Ever so often I’d remind them to focus on their scene. Their scene, they decided, was cavemen living in a cave. That’s as far as they progressed.  They were so distracted by the furs they never got it together.

You can use:

  • A piece of music--You might want to give them boundaries such as only using classical or film music. Lyrics can impede the creative process.
  • A short poem or quote–Suggest to them of ways they could work the poem into their piece.  Take it apart?  Chanting particular sentences?
  • A photo of a place, person, or moment in history–Prior to the project as a warm-up I’ve shown students a photo of an old woman and asked them to tell me who she was, where did she live, etc.  Teaching them to use their imagination and that nothing is wrong so long as we focus together, we will have success.
  • An object (keys, scarf, shoes, old letter)–Stress to them that an object can become something else in their piece.  Maybe it begins as a scarf and over time it becomes a slithering snake?
  • A theme (identity, fear, courage, community)–You may need to give them examples, discussing themes of movies or plays of which they are familiar.

Ask students:
What does this make you think, feel, or imagine?  They could jot down notes in a journal they created for this experience.

Let their responses guide the first round of improvisation. This shows them that all ideas are good ones, some more than others.

Afraid to Teach Devising Theater in Your Classroom?

Step 2: Use Simple Improvisation Structures

First, you need to keep improvisations short—under 60 seconds at first. Why?  Because it forces the mind to abbreviate one’s ideas and to focus on selecting the best parts of one’s ideas.

Try:

  • Tableaux sequences–You know I love a good tableaux!
  • Gesture chains-– Much like the game “When I go to California” without speaking
  • “Pass the Action” improv.–This is a little like the improv. exercise, “Yes, and..”
  • Character walks with internal monologue–So clever, the actor demonstrates what they are thinking through their walk
  • Short improv scenes with a single rule (only questions, only movement, no words, etc.)

Read more about my thoughts on improvisation here:  Improvisation in Theater:  Myth Versus Reality

These tiny explorations give you loads of raw material.

Afraid to Teach Devising Theater in Your Classroom?

Step 3: Collect the Best Ideas

This step is crucial. Have students pause, reflect, and gather:

  • Interesting images they created–either digitally or three dimensional
  • Lines of dialogue that emerged--jotting down the best ones
  • Characters or relationships that appeared–are they useful to our improv.?
  • Movements that felt meaningful–which ones and how so?
  • Themes that keep repeating--what do these themes mean in your piece?

I usually assign a student as the “scribe” or I jot everything on the board.

Patterns always emerge. Usually, someone in each group notices them. Encourage the group when you see them light on an idea. It may be outlandish and farcical at first, but give them time to percolate.

Afraid to Teach Devising Theater in Your Classroom?

Step 4: Shape the Material into a Structure

When I was in college, this might have been called a structured improv.  However, this is more comprehensive. Frankly, I like it much better!

Once you have enough ideas, help the ensemble choose a simple structure.

A word of advice here. It does not need to be complicated! I’d remind the students that they are just learning how to do this.  Perhaps awarding participation points instead of a grade might help to make this less stressful?

Examples:

  • A series of vignettes
  • A journey (physical or emotional)
  • A day-in-the-life
  • Flashbacks
  • Nonlinear moments around a central theme

Most importantly, students decide the order. Encourage them to look objectively at their work and not be afraid to move their ideas around within the piece.  This is when ownership soars.

Afraid to Teach Devising Theater in Your Classroom?

Step 5: Rehearse, Refine, and Repeat

This is where it becomes “real theater.”

Guide students to:

  • Sharpen their movement and vocal choices
  • Clarify transitions–these can be challenging for students
  • Add sound, simple props, or rhythm
  • Edit anything unclear or unfocused

Devising is drafting. Revisions are part of the process—and students learn resilience by improving their own material. I wouldn’t be opposed to seeing each group’s piece prior to showing the rest of the class.  Give them notes and see what they do with them.

Afraid to Teach Devising Theater in Your Classroom?

Step 6: Share the Work

A novice teacher might make this more than it is designed to be.  A performance doesn’t have to be big. It can be:

  • A showing for another class
  • A share-out circle
  • A taped performance
  • A small showcase for families

The goal isn’t perfection—it’s expression.

Students often surprise themselves with what they can create together.

Afraid to Teach Devising Theater in Your Classroom?

Tips for Successful Devising

As the teacher, your job is to say “yes, and” early and often.

  • Keep group sizes small (4–6 students). That way, everyone has some say in the project.
  • Celebrate the process, not the product.  It’s all about the process, NOT the product!
  • Model risk-taking yourself. This is tantamount to success with this unit.  In fact, I think we teachers should always model everything for our students.
  • Provide enough structure to feel safe but enough freedom to feel creative. Put up the day’s objective and discuss it before they begin each day.

Final Thoughts

To think that I was not familiar with devising theater when it was introduced to me.  Now it seems like it’s second nature.  Devising theater is one of the most powerful ways to help students develop artistic confidence, empathy, and collaboration.

At its heart, devising says: Your voice matters. Your ideas matter. The ensemble needs you.

And when students believe that, they grow—not just as performers, but as people.

How have you used devising theater in your classroom?  I’d love to hear about it.  Just comment here or email me at DhcBaldwin@gmail.com

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

 

Readers Theater: The Secret Tool for Social Studies

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Readers Theater: The Secret Tool for Social Studies

I wanted to write “Readers Theater: The Secret Tool for Social Studies” because so many teachers are searching for new ways to keep students engaged in social studies. When most teachers hear “Readers Theater,” they picture ELA fluency, reading  or drama class, or a fun break from routine. But Readers Theater is far more powerful than that—especially in the social studies classroom.

Social studies is filled with people, decisions, and moments that shaped the world. Readers Theater brings those stories to life.

Readers Theater: The Secret Tool for Social Studies

Why It Works

Personally, I believe Readers Theater is one of the most useful teaching tools we teachers have at our disposal. First, Readers Theater requires no costumes, sets, and maybe most importantly–no memorization. (I’m aware that I am repetitive here, but not having to memorize lines could be the single greatest asset of Readers Theater.) Talking about making it easy on the teacher! Plus, students remain seated and bring characters to life using only their voices. Stay seated, you say?  Plus, everyone faces forward.  Consequently, there is not much opportunity for shenanigans.  Since the pressure of performance is removed, even shy or reluctant learners can participate successfully.

It’s simple, low-prep, and high-engagement—just what teachers need when the curriculum feels heavy.

Readers Theater: The Secret Tool for Social Studies

✅ 1. Readers Theater Builds Historical Empathy

As we know, understanding history is more than memorizing dates. I remember when I was in social studies class, I had a difficult time with all of the facts.  Students learn why people behaved as they did, how they felt, and what values shaped their choices.

Here’s a tip:  When students “step into” a historical figure’s role—even just by reading lines—they connect emotionally with the past. That’s powerful. 

  • What did enslaved families risk on the Underground Railroad?

  • How did immigrant children feel arriving at Ellis Island?

  • What was it like to hear Lincoln’s words at Gettysburg?

Readers Theater turns history from a timeline into a human experience.

Readers Theater: The Secret Tool for Social Studies

✅ 2. It Gives Voice to Multiple Perspectives

Good social studies teaching includes multiple viewpoints. Readers Theater makes that visible and audible.

A script can feature:

  • Leaders and everyday citizens

  • Soldiers, nurses, and workers–Veterans Day One Act

  • Children’s voices from different cultures–check out Magic Lake (a Peruvian story about a little girl who saves the prince)

  • Opposing sides of an issue–It Could Always Be Worse is an excellent example of being grateful

Students begin to recognize that history isn’t one story—it’s many. I find that learning that other cultures have the same issues that I have makes me feel better about my particular issue at the time.

Readers Theater: The Secret Tool for Social Studies
My ESL Drama Club in Smithton Middle School, 2001

✅ 3. It Supports ELLs and Struggling Readers

Because students read aloud together, Readers Theater:

  • Encourages repeated reading (which boosts comprehension)

  • Builds vocabulary naturally

  • Strengthens speaking and listening skills

  • Reduces anxiety—no memorization, no performing alone

ELL students in particular benefit from hearing fluent reading modeled by classmates while having the chance to participate at their comfort level. About twenty years ago, I sponsored an ESL Drama Club.  What a tremendous experience that was.  We performed a Readers Theater script by Aaron Shepherd. 

Readers Theater: The Secret Tool for Social Studies

✅ 4. It Turns Primary Sources Into Something Students Can Understand

Primary documents are rich—but intimidating. Once a student is intimidated, they can’t learn.  Readers Theater helps teachers “translate” them into accessible language without losing meaning. For example, a student could learn about Martin Luther King through a Readers Theater script.  

A script can simplify:

  • Speeches

  • Letters

  • Newspaper accounts

  • Diaries

  • Oral histories

Additionally, if a teacher uses the Readers Theater script for a performance, such the Martin Luther King holiday, students begin to internalize content instead of just decoding it. I know that when my teachers used Readers Theater in our classes, I remembered the information much more easily.

Readers Theater: The Secret Tool for Social Studies

✅ 5. It Encourages Collaboration and Critical Thinking

Social studies is filled with cause and effect, motives, and outcomes. Readers Theater takes those ideas off the page and puts them into dialogue, letting students hear history instead of just reading about it.

After a script, students can discuss:

  • Who had power in the situation?

  • What choices did characters have? Li Chi The Serpent Slayer is a fantastic Chinese folk tale about a girl volunteering herself to save her village.

  • What might you have done differently?

  • What bias or point of view appears in the story?

Readers Theater: The Secret Tool for Social Studies

How Readers Theater Turns Passive Readers into Powerful Thinkers

Suddenly, they’re not just reading history—they’re interrogating it. When students interrogate information—asking questions, challenging assumptions, and discussing why events happened—they are no longer passive receivers of content. They become active thinkers. That shift builds confidence.

  • They learn that their ideas and questions matter.
    When students are encouraged to question the text, they begin to trust their own reasoning. Without a doubt, trusting one’s self is monumentally important.

  • They discover they can figure things out on their own.
    Instead of waiting for the teacher to supply answers, they explore possibilities and defend their thinking. For that reason, their sense of ownership becomes a heady experience.  One experience a students doesn’t easily forget!

  • They practice speaking up.
    Discussing motives, cause and effect, and different perspectives helps students find their voice and participate more boldly. Using Readers Theater as the vehicle for your teaching is a sly way to engage students. Personally, I think it is magical.

  • They realize there is not always one “right answer.”
    In social studies, interpretation is part of learning. When students see that they can contribute, analyze, and debate, their confidence grows. Additionally, as confidence grows, a teacher may discover that the most reluctant student feels comfortable speaking up.  Readers Theater is non-threatening.

Additionally, interrogating information isn’t just academic—it’s empowering. Readers Theater makes this even more accessible because students hear viewpoints aloud, react to them, and respond in real time. As a result, that experience helps them feel capable, engaged, and confident in the classroom. And…it’s effortless teaching, I promise you.

✅ Ideas for Using Readers Theater in Social Studies

  • Biographies (Harriet Tubman, Cesar Chavez, Sojourner Truth, Eleanor Roosevelt)

  • World cultures and holidays ( Día de (los) Muertos–Day of the Dead)

  • Indigenous stories and oral traditions (How the Bee Got Its Singer-a Cherokee Creation Myth)

  • Immigration experiences

  • Civil Rights Movement

  • World War II home front

  • Constitutional Convention debates

  • Historical folktales and legends ( The Fall of the Spider Man–a Canadian Folk Tale)

Short scripts can be used during:

  • Introduction to a Unit

  • Stations

  • Friday fun days

  • Sub plans

  • Intervention groups

  • Literacy centers

  • Class performance days

✅ Final Thoughts

I hope you’ll consider including Readers Theater scripts into your social studies curriculum. Social studies should never feel like a silent subject. It should be full of voices, stories, and perspectives.

Readers Theater does exactly that—bringing history to life in a way that is meaningful, accessible, and unforgettable.

How have you used Readers Theater in your social studies classroom?  I’d love to hear about it.  Feel free to email me at DhcBaldwin@gmail.com

   Have you heard the news?  We’re Live! Radio Theater #101 was awarded a 5 star review of excellence.  Get your copy here! We’re Live! Radio Theater #101

Beyond Acting: The Value of Other Art Forms in Theater Class

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Beyond Acting: The Value of Other Art Forms in Theater Class

When I was a young girl, I studied piano and played it for ten years (you’d never know it to hear me now, however). I wanted to perform in theater, but it was discouraged by my parents until they realized I was serious about it. You can read more about that here: How Theatre Saved My Life. That early mix of music and theater reminds me of today’s topic—Beyond Acting: The Value of Other Art Forms in Theater.

In theater, it’s easy for students to think their only job is to act. But drama is one of the most collaborative art forms—it pulls from dance, music, literature, and visual design. When teachers encourage students to step outside acting and experiment with other artistic expressions, both the classroom and the students’ work on stage become stronger.

Beyond Acting: The Value of Other Art Forms in Theater Class

Why Interests Matter as Much as Skills in Theater Class

Even in elementary school, I was a good singer.  Because I played the piano for many years, I could and can easily hear harmony in a song. However, even with all that natural ability I was far more intrigued by acting.   Yet, I wasn’t a triple threat.  My acting and singing talent outweighed my dancing skills though I did my best to catch up once  I attended Stephen College.  What I lacked in skill, I made up for in interest.  I’m one of those people who loves all the art forms. Is that you, too? Nevertheless, not every student realizes this about themselves.  Understanding the value of one’s interest in the other arts is important to your blossoming theater arts students.

Beyond Acting: The Value of Other Art Forms in Theater Class

Beyond Acting: The Value of Other Art Forms in Theater Class

Let’s consider the various reasons I encourage students to study other art forms while they are studying theater.

1. Theater Is Already a Blend of Art Forms

Dance and movement: Actors borrow from choreography to express emotion. Here’s the good news–you don’t have to be the next winner of Dance Off to learn to dance.  Even just learning to move with confidence is a help.

Music and rhythm: Timing, pace, and mood often reflect musicality. Learning how to play an instrument or sing can’t do anything but help you with your acting.  Comic timing can be helped by learning about rhythm.

Visual art and design: Sets, costumes, and props rely on strong visual choices. I’ve never known an actor who didn’t like some other art form.  Many enjoy drawing. Why not show them a video or two of artists who became set designers.  For example, Ming Cho Lee  Often called the “Dean of American set designers,” studied art and architecture before becoming a celebrated Broadway and opera designer. He also taught design at Yale, shaping generations of designers. If you’d like a lesson about Lee, check out:  Ming Cho Lee

Creative writing: Scripts are born from writers who understand character and story. By learning to be a better writer, you can’t help but hone your skills.  If nothing else, you’ll be more aware of the talent it takes to write a script. Plus, you’ll understand the value of learning the script word for word. By dipping into these areas, students see how interconnected the arts really are.

Beyond Acting: The Value of Other Art Forms in Theater Class

Fresh Energy from Exploring New Arts

2. A Cure for Creative Ruts

Students sometimes get frustrated when a scene or role doesn’t click. Pivoting to painting a set piece, choreographing a short movement sequence, or designing a costume can rekindle their excitement. That renewed energy often carries back into acting. This is fascinating to me. Plus, it wouldn’t hurt for a whole cast to do this for one rehearsal.  If you want to know how to direct a youth theater production, check out this post: Ten Steps in a Play Rehearsal in Youth Theater

3. Building Empathy and Respect

When students explore beyond acting, they begin to understand and appreciate the many roles that bring a production to life. Suddenly, the costume designer isn’t just “the one who sews,” and the lighting crew isn’t just “flipping switches.” Students see that every role—whether onstage or behind the scenes—requires creativity, problem-solving, and artistry. When I attended college, the theater department required us to put in 100 hours in the set and/or costume shop. (Me?  I put in 200 hours.)

This realization helps them value their classmates’ contributions. Not to mention, they respect the effort that goes into each part of a production. Over time, that empathy translates into a stronger ensemble spirit. Instead of competing for the spotlight, students begin to celebrate one another’s strengths, which makes the entire performance richer and more unified. I’ve observed it occurring many times.

Beyond Acting: The Value of Other Art Forms in Theater Class

4. Cross-Training Makes Stronger Artists

Just like athletes cross-train, drama students benefit from developing skills in other arts.  I believe it is our job to point that out to our students and encourage them to use their undiscovered talents:

For instance, a student who plays an instrument may develop stronger rhythm in their line delivery. Or a  student who sketches may have a keener eye for stage pictures. That comes in handy when they get a chance to try directing a one act or scene with their peers. Do you have a student who is always writing stories and poems?  They may build more authentic characters., because of their love of the written word.

5. Teachers See Hidden Strengths

For teachers, encouraging pivots helps uncover talents is exciting and very fulfilling. Personally, I’ve introduced many students who entered my classroom thinking they wanted to perform only to  discover they preferred technical theater once they studied it. Read this post if you’d like to hear about a student of mine who went on to be a set designer.

He attributes his interest in it from building a model of  a set design when he was in middle school.  The Five Reasons Your Students Will Love Set Design Learning to draw a set design of their own choosing, encourages them to explore their own ideas.  They approach researching a time period with a different attitude or outlook because they can see a reasons for doing so. Encouraging them gives them the license to see things differently.  You can’t beat that kind of  affirmation.

Do you have any shy students? They may thrive in sound or light design.  How about a restless one?  Encourage them to audition for the dance squad.   Exploring different art forms ensures that every student finds a way to shine. If you’d like to learn how to encourage students to study technical theater, check out: Ten Ways to Teach Reluctant Students in Your Theater Class

Exploring other art forms doesn’t pull students away from theater. It makes them better theater artists. When teachers provide opportunities to pivot, students gain resilience, creativity, and confidence. My advice?  Let students try on multiple “hats” in the drama classroom. You may discover your actors become better performers precisely because they also became designers, dancers, or writers.

Have you ever encouraged a student to explore another art form to strengthen their acting? I’d love to hear your story—feel free to email me at DhcBaldwin@gmail.com.

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5 Affordable Set Pieces for Theater Departments

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5 Affordable Set Pieces for Theater Departments
Deb building flats for The Giver

5 Affordable Set Pieces for Theater Departments

Welcome! If you’ve arrived at my blog because you are building a theater program in your school, I’m glad you did so. Today,  let’s talk about 5 affordable set pieces for theater departments.

Oh, gosh, I’ve been there.  Infact, I’ve created several programs for schools and community theaters in Colorado and Missouri. Check my resume here if you’d like more information about me:  Teaching Resume. Starting a drama program is exciting—but it can also feel overwhelming when budgets are small and storage space is limited. The good news? You don’t need elaborate sets or expensive rentals to create engaging productions. With just a handful of versatile set pieces, you can stage nearly any play, rehearse effectively, and stretch your students’ creativity.

Here are five must-have set pieces every beginning drama department can afford, build themselves, and use in countless ways.  Plus, I’ve included a bonus piece borrowed from the ancient Greeks. I’ve built every one of these set pieces several times, so you know I think they are essential.

5 Affordable Set Pieces for Theater Departments

5 Affordable Set Pieces for Theater Departments

1. Rehearsal Boxes (Stage Cubes)

  • Why: The ultimate multitaskers. Rehearsal cubes can become chairs, tables, steps, beds, or thrones—and they’re indispensable for rehearsals.
  • DIY Factor: Build from plywood or MDF, paint them black for neutral use, and stack for multiple levels.
  • Uses: Furniture, platforms, or even makeshift scenery.

Here’s a Youtube video that demonstrates how to build these gems: Learn to Build Actor Boxes

Scene Shop

2. Folding Flats (Walls That Go Anywhere)

  • Why: A basic flat is the backbone of any set. Just a couple can suggest endless locations.
  • DIY Factor: Create wooden frames covered with muslin or luan. Add hinges so they fold flat for storage.
  • Uses: Interior or exterior walls, doorways, murals, or projection screens.

These flats are made of wood.  Usually, mine are covered with muslin just like we’ve used for many years.  If you want to learn how to build a flat, go to: Stage Flat

5 Affordable Set Pieces for Theater Departments

Credit: https://buildersvilla.com

3. Platforms (Add Instant Levels)

  • Why: Theater becomes more dynamic when actors are on different heights. Platforms give depth and variety to any scene.
  • DIY Factor: Build 4×4 or 4×8 framed platforms topped with plywood. Keep them modular so you can reconfigure as needed.
  • Uses: Stairs, balconies, podiums, risers, or stages-within-a-stage.
5 Affordable Set Pieces for Theater Departments
Credit:  Buildersvilla.com

4. Freestanding Door Frame

  • Why: Nothing transforms a bare stage like an entrance. A door instantly suggests place and purpose.
  • DIY Factor: Build a sturdy wooden frame and mount a lightweight door. Keep it neutral so it fits multiple shows.
  • Uses:Entrances/exits for comedies, farces, haunted houses, or realistic dramas.

Doors and door frames are gold.  They do have go be built correctly, however.  If they are not, they will always be an issue for you.  If I was going to pay anyone to build something for me, I’d have someone built door frames and hang doors form. 

 

5 Affordable Set Pieces for Theater Departments5 Affordable Set Pieces for Theater Departments

Versatile Set Pieces: Tables and Chairs for Any Scene

5. Basic Table and Chairs

  • Why: The simplest set pieces are also the most used. A table and chairs can set dozens of scenes.

  • DIY Factor: Thrift store finds work beautifully. Refinish or paint them for versatility.

  • Uses: Dining rooms, courtrooms, offices, cafés, classrooms—the possibilities are endless.

During certain points in my career, I had access to a six feet long wooden table and bentwood chairs.  These are priceless!  You can use them in many ways whether for a dining room scene such as in The Miracle Worker, or the kitchen table in the annex of The Diary of Anne Frank.  Additionally you can use the chairs by themselves for two person scenes, etc.

5 Affordable Set Pieces for Theater Departments

Credit: //hstech.org

Bonus: Periaktoi (The Ancient Secret Weapon)

  • Why: Straight from ancient Greek theater, a periaktos is a three-sided flat mounted on a pivot. Spin it, and the scenery changes instantly! Perfect for schools with limited time and budgets.
  • DIY Factor:Construct tall triangular prisms with lightweight lumber and luan. Paint each side with a different setting—brick, sky, wallpaper, forest, etc.
  • Uses:Rotate between three locations in seconds. Ideal for one-acts, student-designed shows, or productions with quick transitions.

Whenever I begin a drama program or summer camp for someone, we always build periaktois.  Most theater groups are unfamiliar with them and they various uses.   They take time to build but are worth their weight in gold.  You can’t go wrong with them!

5 Affordable Set Pieces for Theater Departments

What if I have no carpentry skills and neither do my students?

Sometimes a teacher has the skills to build their own set.  In my case, my wonderful husband builds them for me.  However, sometimes he was unavailable to build, so, I’ve put a word out to parents volunteers to help build our sets. Usually, a group of fathers (and even grandfathers) would show up on a Saturday morning, I’d feed them donuts (that made them smile) and they’d build what I needed.  You can do that, too!

Another way to design the set is by the use of fabric.  When I directed The Giver at the Fine Arts Guild of the Rockies, I hung various colors of gray fabric from the battens.  It was a super way to pull the focus to the center and give mood.   Check out this blog post if you’d like to know about producing The Giver: The Reasons I Love The Giver Play

5 Affordable Set Pieces for Theater Departments

Teacher Benefits

Here’s some advice:  You simply must defend your program and its need for funds.  Consequently,  you should have a meeting with your administration and department chair.  If you’d like, use this blog post to defend your needs. 

  • Saves Money: Build once, reuse for years.
  • Encourages Creativity:Students learn to think outside the box when transforming simple pieces into new settings.
  • Teachable Moments:  Building these pieces doubles as a tech theater lesson.
  • Space Friendly: Most pieces stack or fold for easy storage.
  • Endlessly Versatile:From Shakespeare to contemporary plays, these pieces adapt to any production.

Last thoughts

To be honest, I think it’s a good thing for our students to see you being creative with what you have in your stock.  Too many times we are a throw away society–but by using these materials over and over in various configures, you are teaching them to be inventive and clever.

Lastly, you don’t need a giant scene shop or a massive budget to produce creative, polished shows. Start with these 5 affordable set pieces for theater departments—rehearsal boxes, flats, platforms, a door, and furniture—and add periaktoi for a touch of theatrical magic. With just these few items, your drama department can bring almost any story to life.

Want more budget-friendly tips for building your drama program? Join my newsletter for free resources, classroom-tested ideas, and exclusive discounts. This one is a free lesson about Audra McDonald!

If you are looking for set design units, check out:  Set Design High School and Set Design Middle School.

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

Deb directing The Miracle Worker
DEB DIRECTING THE MIRACLE WORKER

 

Creative Dramatics for Tweens: Build Confidence First

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Creative Dramatics for Tweens: Build Confidence First

I’ve wanted to blog on this subject for a long time–Creative Dramatics for Tweens: Build Confidence First. It’s easy to assume that the best way to begin a drama class is with scripts in hand or with a monologue or duet scene. After all, that’s what theater is all about—character, dialogue, blocking, memorization. Right?

Creative Dramatics for Tweens: Build Confidence First
Here I am with a former student sitting on the floor, playing the warm-up game with my class

Not quite.

When you’re working with middle school students, traditional scripted drama can be overwhelming. Many students at this age are still learning to navigate their emotions.  Additionaly, they are learning how to communicate effectively, and build trust with their peers. That’s why I believe the best way to start middle school theater is not with a script, but with creative dramatics.

What Is Creative Dramatics?

Creative dramatics is an unscripted, process-centered approach to theater. It includes improvisation, storytelling, pantomime, role play, and drama games. Unlike traditional scripted drama, it emphasizes exploration over performance. Additionally, it is less about perfect delivery and more about self-expression, teamwork, and discovery.

In short—it’s play with purpose.

Creative Dramatics for Tweens: Build Confidence First

Why Traditional Drama Doesn’t Work Right Away

Middle school students come to drama class with a wide range of abilities.  Plus, they join us with different comfort levels, and backgrounds.  Some are eager to perform; others are terrified of speaking aloud. When we hand them a script and ask them to “act,” we’re assuming they already have skills they may not have yet.

As we are aware, times have changed one generation to the next.  I was from the generation where parents said children were, “to be seen and not heard.’ My parents let my teachers deal with me at school–they did not intervene at all. My daughters weren’t raised as strictly but guardedly.  However, we did not ask them for their input in making decisions about and for them.  This latest generation is much more hands-on.

Modern parents are often more involved in their children’s lives than previous generations. They attend more events, know more about their kids’ social-emotional development, and are quicker to advocate in school or healthcare settings. This shift is partly due to greater access to parenting research, a cultural emphasis on emotional intelligence, and a desire to break cycles from their own childhoods.

Creative Dramatics for Tweens: Build Confidence First

How Developmentally Appropriate Drama Builds Success

How does that play out in the drama classroom?  In drama class we deal with our emotions right from the first day.  If a student is uncomfortable sharing emotion, they will shut down on a teacher before they have even begun.

This is the primary reason for beginning the school year or even second semester with creative dramatics and not jumping into more a more traditional theater class.  Take.your.time.

Here are a few reasons traditional methods may fall short:

They’re still figuring out who they are. Think of it–they enter your classroom as basically a 5th grader and leave the school as almost a 9th grader.  That’s huge growth!  Identity is a work in progress at this age. Asking them to take on another character can feel like too much when they’re unsure of themselves to begin with.

Reading aloud is a challenge for some. Not every student is a confident reader. Struggling through a script in front of peers can be a confidence killer.

Performance anxiety is real. Scripts and staged scenes can cause fear of failure, embarrassment, or judgment.

Additionally, they haven’t built ensemble yet. Trust is a crucial part of theater—and it takes time. Without it, collaborative scene work suffers. Students must feel safe in order to take chances and make mistakes in front of their peers.

Creative Dramatics for Tweens: Build Confidence First

What Creative Dramatics Offers Instead

Simply put, creative dramatics gives students the freedom to play, explore, and make choices.

Here’s why it works so well for middle schoolers:

Confidence Grows Naturally
I found that activities like studying movement and storytelling encourage participation without the pressure of “getting it right.” Students learn that all ideas are welcome, and that builds a safer space for risk-taking.

It Emphasizes Play
Middle schoolers need movement and laughter. Games and creative exercises channel their energy in productive ways—and make class genuinely fun. Students have shared with me that the warm-up games are their favorite part of their school day!  One exercise that is always successful is The Three Headed Monster.  Want a copy?  Pick it up here: Three Headed Monster

Creative Dramatics for Tweens: Build Confidence First

Why Creative Dramatics Works for Every Student

It Builds Ensemble
Middle schools are generally as large as a small high school.  That means your students may not be familiar with each other. Several elementaries can funnel into one middle school. Therefore, group work, partner activities, and group-based improvisation help students learn to listen, collaborate, and trust one another. These are the same skills that will serve them when they do move into scripted work. Check out this bundle:  Group Based Improvisation Exercises

 Skills Are Introduced Organically
Voice, body language, emotion, conflict, character motivation—these are all explored through creative dramatics. Often students aren’t even aware that they’re developing them. Because you have focused on participation rather than performance, your timid students have an opportunity to challenge their fears without criticism.

It Welcomes All Learners
Some students didn’t choose to take drama. Others are English language learners or neurodivergent. Creative dramatics gives everyone a way in—regardless of background or ability. My favorite memories of teaching middle school have always been when a secial needs student get to participate in the performance. Or the ELL students show their classmates that they don’t need to be good English speakers to win at a game! Need something for a substitute teacher to teach?  Check out: Emergency Sub Plan Bundle 

Creative Dramatics for Tweens: Build Confidence First

What It Looks Like in Practice

So, what does creative dramatics actually look like in the classroom?  A middle school drama classroom is joyful, dynamic and always fun!

Here are a few ways to begin your middle school drama class:

  • Tableaux exercises where students freeze in poses to tell a story or capture a scene–pick up Fairy Tales with Tableau
  • Improvisation games like “Yes, And…” or “What Are You Doing?”
  • Story circle activities where students help shape a narrative such as Magic Circle
  • Movement builds expression and clarity without words such as Creative Movement
  • Character walk explorations where students invent physical traits for imaginary people. This first begins with a charater analysis such as Character Analysis

None of these require a script. All of them build foundational theater skills.

Creative Dramatics for Tweens: Build Confidence First

When to Introduce Scripts

Scripts do have a place in middle school drama. They come after the ensemble is built, the fear is reduced, and the students are comfortable in their own creative voices.

When that time comes, try:

  • Class plays where the entire class is involved, such as The Brave Little Tailor
  • Reader’s theater as a gentle transition, such as The Magic Lake
  • Radio theater is non-threatening and requires very little preparation for you or the students, try Bow Wow Blues

Once they’re ready, traditional drama becomes much more successful—and meaningful. It’s worth noting you should also not begin the year delving into theater history.  If you’d like a  free lesson for this subject, check out: The Origin of Theater

Creative Dramatics for Tweens: Build Confidence First

Final Thoughts

Here’s some advice:  don’t be like me and get all caught up in the quality of the performance. When I first started teaching middle schoolers, I was too focused on the final performance.  Some students can only equate a play performance as doing “theater”. They may not come out of their shells until they are standing in front an audience (hopefully, someone else’s class of students are serving as audience).

What is key here is that your students are LEARNING. Once you accept this, your teaching will be much more fun and fulfilling.   Middle school drama is not about putting on a perfect show. It’s about helping students discover who they are, how they express themselves, and how they connect with others. Want more advice about teaching middle schoolers? Check out: How to Make Your Drama Class More Successful –Lessons Learned from 38 Years of Teaching-Middle School

Where Confidence Begins: Creative Dramatics

If we want them to fall in love with theater—and we do—we need to meet them where they are. That starts not with scripts, but with play. With movement, with laughter and 2ith ensemble.

It starts with creative dramatics.

Have you tried creative dramatics with your students?  Drop a comment and share what’s worked for you, or explore my ready-to-use lessons that make the first weeks of drama class engaging and low-stress—for you and your students.

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