acting

Critical Steps in Choosing a Play or Musical: Stage Properties

August 30, 2016 By dhcbaldwin 5 Comments

Stephens College Theatre Department

Let’s talk about the critical steps in choosing a play or musical stage properties next.

I have something to admit. I knew very little about the workings of a play production until I attended college, Stephens College to be exact. I was aware of this about myself, but you know, I had NO IDEA how much I didn’t know, you know? Enter required technical theater hours.

I very gleefully signed up for crew positions as I was expected to do. In the theater department, at least at the time, we were not allowed to audition for productions until our second year of school there. It was part of the process of this solid program that continues to be excellent.

A Christmas Story Performing Arts in Children’s Education December 2004

I’m an over achiever. It’s terrible how much of an over achiever I can be at times. Anyway, we were required to have 100 hours. I finished with 200. See? Truthfully, I found I loved crewing backstage.

My first backstage crewing experience occurred when I worked on the stage properties crew and I’ll never forget it. I enjoyed it so much that one summer I served as prop mistress at the Okoboji Summer Theater, Stephens’ summer theater venue.

Now, I’m virtually an expert (because I’ve been around since dirt was invented) on stage properties. A combination of art and theater, using one’s imagination and ingenuity, stage properties are important to the overall effect of the production. Think about it. What is an important prop used in Into the Woods? The milk cow. How about in Seussical? The clover!

Critical Steps in a Play or Musical: Stage Properties

In my very long career in theater, I have:

found two identical Afghan dogs
discovered and was loaned Venetian glass in the middle of Iowa
borrowed a baby grand piano
needlepointed an alphabet sampler (I didn’t know how to needle point when I began)
made a fake cheese ball complete with Mickey Mouse ears plopped on top for a chip bowl (I know you are impressed!)

and a gazillion more cool things…

The Giver Fine Arts Guild of the Rockies 2013

Properties Master

If it’s your job to fill out your staff, then look for a volunteer who is very crafty and clever and draft them to be in charge of your props. Or, if you are working for a theater, they should provide you with someone. I would advise you to stay out of their way and merely accept what they bring in if at all possible.

Volunteers do become very possessive of their things, especially when they “searched all weekend to find a pair of wooden knitting needles”. I rarely decline props, because I held a very specific discussion at my prop meeting and preplanned for my needs (including a LIST). Yet, even with the preparation, I need props that I hadn’t thought of or my actors require personally as they develop their characters or we discover spontaneously as we rehearse.

Into the Woods Performing Arts in Children’s Education 2004

(The cow was created by a volunteer–wow!)

Back to Budget

Again, you will want to check and see what was allotted in your budget for props. Props can be created –Gandalf’s staff for The Hobbit, a smoking cauldron for Macbeth, fake meat pies for Sweeney Todd or…a really inexpensive smoke machine you can create with dry ice and a plastic garbage can. No joke!

You can purchase props on line from theatre supply companies such as RubiesCostumes.com. They have an excellent inventory, broad and detailed, so if you are looking something historically accurate, I’d start there. Of course, there are other suppliers, but I usually go to them first. I have been a customer of theirs for over thirty years.

Many props can be borrowed–a Victorian love seat for Arsenic and Old Lace, a hand water pump for The Miracle Worker, a Tesla coil for a mad scientist or even the smoke machine I mentioned previously.

I’ve asked many people if I could borrow a particular prop for them. Usually, people are happy to loan something to you. You should sweeten the request by offering a pair of complimentary tickets and a listing in the program in exchange for their loan. It’s standard protocol. Or place a sign in the lobby that acknowledges the business or person who helped you out. That’s nice, too!

Balance of Production Value

I do have one gripe, however. It just really annoys me when the props in a production are uneven, for lack of a better phrase. I mean, some are authentic looking, but others in the show are not. I like for my entire “production package” to be equal from the set design to the lights, the costumes to the program.

If one piece is lacking (for instance, the sound equipment is inadequate and unable to amplify the actor’s voices over the orchestra who is full and loud), then the whole thing feels odd.

Perhaps it’s the director in me, but that’s what I notice when I attending a production–whether the show is comprehensive, balanced components. I like to be a good role model and representative of the arts. Anything I can do to attract a person to attend or participate in another production is my primary goal. To me, it is lifeblood of the art.

People laugh when I say, “When I direct in any theater, I think of myself as a cruise director. I want the people to have such a wonderful, meaningful evening that they will be overcome with emotion and tell everyone they know about the experience. Then I smile and nod.” (An old teaching technique to persuade people to agree with you…)

If you are looking for particular lessons about stage properties, I have several available in my Teacherspayteachers.com store. You can find them here:

Stage Properties Lesson

Stage Properties Holiday Theme

Next, I’ll give you some great tips on costumes. Look for them soon!

Got a question? Ask me.

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

Critical Steps in Producing a Play or Musical: Set Design

August 18, 2016 By dhcbaldwin 18 Comments

Critical Steps in Producing a Play or Musical: Set Design

Let’s talk about critical steps in producing a play or musical, shall we? I think a powerful, creative, unique set design is vital to a production. Depending upon the production budget (there’s that word again-it’s going to come up a lot in these blog posts), the set can be as elaborate as possible or simple.

If a director has the freedom to choose what she wants, always keep in mind that old adage, “Less is more”. Personally, I think a set can distract the audience from the production if one isn’t careful. On the other hand, a simple set can be distracting as well especially if one’s actors aren’t skilled in creating the atmosphere themselves. A skilled actor should be able to imagine the setting and demonstrate it through character and movement. As you might expect, I’m partial to one person in particular–my husband who designed sets for me many times. (He designed the set you see below in the photo of The Diary of Anne Frank.)

Your Director’s Concept

First, you need to know whether a designer has been hired or volunteered to design your set. If so, then you are generally stuck (and I do mean stuck) with that person. I’ve worked with good ones, lazy ones, entitled ones and very creative-but-can-not-get-it done ones.

If you are lucky, the designer will have ideas of his own and share them with you and vice versa. As I mentioned in the previous post, have your concept board handy to share with him.

If you are expected to design your own set, start by researching on the internet. As you find ideas (probably from other companies’ productions of the show), you might want to make a copy of them. Note: I am going to say this one time. If you are capable enough to direct the show then you are capable enough to come up with your own ideas for the set. It is just tacky to lift (steal, copy or what have you) someone else’s design. It isn’t polite, it certainly isn’t unique and it isn’t right.

I expect the designer to create a model of the set for me. In fact, I require it. Most humans are visual thinkers and consequently it helps the actors (and everyone involved for that matter) in their visualization of the show. As well, it aids me when I am blocking. I remember directing Something’s Afoot and its first musical number is chaotic and busy. Characters are entering and exiting one right after another. The model helped me to keep straight everyone as I placed little spice bottles with each character’s name in the right places.

The Diary of Anne Frank Fine Arts Guild of the Rockies 2012

Ah, The Set Budget!

Set, costumes and stage properties budgets are the most challenging to estimate. If you are in charge of the budget, you will first need an inventory of the company’s set pieces (flats, platforms, stair units, etc.) Are you thinking of using a scrim? Does the company own a scrim? If not, will they purchase one for you? Would you rather have a stylistic set? What are using projections? Does the venue have the equipment to do so?

That’s a good idea, especially is there is little money for the set. Is the production a period piece? You need to consider that question, too. There’s many more questions to ask yourself, but you get the idea…

Critical Steps in Producing a Play or Musical: Set Design — The Giver Fine Arts Guild of the Rockies 2005

The Designer’s Job

If I have a designer, it’s there responsibility to create a line item budget. Generally, designers (costumes too) ask for a color pallet from me. It’s fairly easy to share my choices using my concept board which I created before the project began.

There is something very special in having the pleasure to direct on a great looking set. Everyone feels it. However, some of my most favorite are simpler ones like The Giver (photographed above). It was understated, perfectly suited the play’s message and met the budget requirements.

Recently, I directed The Wizard of Oz (my first time ever, I know–better late than never). It was important to me that we stayed away from the movie version as much as possible. For countless hours, my designer and I discussed how to create the set on a very limited budget, build it with inexperienced students all the while giving the audience something to imagine and enjoy. The tornado and its metaphoric moments within the story was our thrust.

We used bicycle wheels, barbed wire and fence posts to create the witch’s lair. Additionally, it was stark looking which was our goal.

Get Organized

If you take the time to pre-plan every aspect of a production, it will save you time later. Trust me, I have gone into rehearsals thinking I could be spontaneous and think out details as I rehearsed. Admitting this to you now, I realized this is a ridiculous thought. I can guarantee you I still have spontaneous moments. That’s part of my nature. But everyone working with you will appreciate your forethought and find that people are more confident if they can rely on your somewhat established concept right from the first day of rehearsal.

Drama Resources for Busy Teachers

You may be aware I am a retired drama teacher. Not only do I create drama education resources for drama, language arts, reading and vocal music teachers, some teachers of gifted upper elementary students and middle school purchase them too. . You can see them on Teachers Pay Teachers.

Bundle: Study Guide & Set Design Units for Tom Sawyer play

Bundle: Set Design with Fairy Tales or Bundle: Set Design with School Setting

If you’d like a FREE lesson for middle school students concerning set design, go to: Set Design the Rendering

For more advice, check out these posts:

https://dramamommaspeaks.com/2016/11/19/critical-steps-in-producing-a-play-or-musical-costumes/

https://dramamommaspeaks.com/2016/08/17/selecting-a-play-or-musical-casting/

Recently, I watched Phaedra on National Theater at Home and it is exceptional. But friends, the set is phenomenal! Check it out here- How we made it: Phaedra’s Five Sets in One at the National Theatre

I’d love to hear about your experiences directing with unusual sets. Contact me at dhcbaldwin@gmail.com

Double Casting a Show? Here’s Advice

December 14, 2014 By dhcbaldwin 11 Comments

Double Casting a Show? Here’s Advice

Are you double casting a show? Here’s advice. This is a subject near and dear to my heart.

Willy Wonka, Jr.

I have gobs of experience on this subject having directed mostly successful musicals and plays with adults and children for over thirty-eight years. Trust me when I say, you too can double cast a production and come out of the experience as a sane human being. I really think that double casting youth theater productions is the way to go.

Here’s some advice:

1. You should alert those auditioning that you are considering double casting. That doesn’t mean you are required to double cast, however. You are merely thinking about it. Actors don’t like to be surprised. They spend so much time thinking about the outcome of their audition, it is only polite to warn them. Some people won’t be involved in your production if they don’t know in advance that you are double casting.

2. After you have double cast the show, I strongly suggest you label the casts. This year, I am double casting three roles in Fiddler on the Roof, Jr. (Chava, Hodel and Tzeitel). In one of the schools in which I teach, we have so many talented young women, my co-teacher and I thought it was the best way to go this year.

We labeled them cast “A” and “B”–not the most creative labeling we could come up with, but you get the idea. (And as I rethink this, probably refraining from using A and B would be a good idea since in education “A” means excellent.) Frankly, I enjoy labeling the cast with some word from the title of the musical such as “Guys” and “Dolls” or “Alice” and “White Rabbit”, etc. You get the idea.

3. Double casting keeps the egos out of the way, in my opinion. If you divide the strength of the cast between both, you are more likely to have a terrific outcome. I have seen many a talented student who lacks confidence who feels bolstered by the students around him with more experience and so forth. Sometimes that’s all the one who is a little more unsure needs–the other students’ confidence rubs off on him.

4. I don’t worry whether the two actors are the same size when it comes to costuming them. I think that’s costume designer’s problem and no one should be denied a part because she isn’t the same size as another person cast in the role. Some of us just can’t help that we are short or very tall. 🙂

5. Usually, I have the double cast actors observe each other’s rehearsals. Even if I have to review blocking solely for the second cast, that’s my choice. When I stage a musical number, the actors learn the parts at the same time, side by side. The same thing goes for vocal rehearsals. If all goes well, the two actors can rehearse with each other, checking their blocking, going over lines, etc.

6. Usually, we have four performances. I give each cast one performance which will probably have a smaller audience (such as a Thursday night or Saturday afternoon).

7. When the flu season approaches, having a double cast alleviates much of the stress of absenteeism. You know that someone will be there to rehearse. I also make it clear to the students I expect them to work as a team and help each other whether it means running lines with one another or getting all the director’s notes if one person is absent. Again, this keeps the egos at bay.

Sometimes rehearsals get tricky what with two casts, two sets of notes, two sets of problem solving but I promise you it’s worth it. Several times in my career, I have been double cast myself! And look–I’m here to share my experiences with you.

Do you like free resources? Pick up my free guide and ten page lesson here

Or maybe you are wanting to teach how to Create Your Own Musical?

Have you double cast a production? I’ve love to hear about your experiences. Contact me at dhcbaldwin@gmail.com or DeborahBaldwin.net

Need more advice about directing? Check out these links:

https://dramamommaspeaks.com/2016/10/20/eighteen-ways-to-make-your-directing-experience-less-stressful-part-one/

https://dramamommaspeaks.com/2016/10/23/eighteen-ways-to-make-your-directing-experience-less-stressful-part-two/

Tips and Tricks of a Drama Teacher|Drama Tools That Is

August 25, 2013 By dhcbaldwin Leave a Comment

Tips and Tricks of a Drama Teacher– Drama Tools, That Is

This is a continuation of my last blog about the tips and tricks of a drama teacher.

Most of us have some form of a work nightmare. You know, you dream when you are at work and everything is crazy. Mine are different! I dream that I am acting in a play and I have learned the wrong lines for the play, I am dressed in the wrong costume and everyone is judging me. I guess my subconscious thinks we need to worry. Whatever.

This year, I am teaching at a fourth school in a different school system. Along with the usual aspects of creating a new program (or one that was limping around), I have memorized new passwords for a grading system, become acquainted with the school’s policies, checked out my classroom, met everyone and planned beginning lessons. If you are like I am, one of the best parts of a school year is ordering materials for the class. I have listed many of my most successful materials.

Drama Curriculum Units & Lessons

(This product will give you lessons and such for around a nine weeks.)

Tips and Tricks of a Drama Teacher– Drama Tools, That Is

Postcards–These are TREMENDOUS little things. They come in black and white and color; they are inexpensive and sturdy. I use them to teach storytelling, tableau, movement, characterization, etc. When ever a student misses school and takes a trip, I ask them to mail a postcard to me.

Nanofictionary--This card game is such fun and upper elementary and middle school students enjoy it. It’s part of my storytelling unit. You can find it through Amazon.com

Plastic ball–I use an inexpensive medium sized ball in many exercises or games. One great exercise is “This is not a ball.” The students take turns coming up with other objects that the ball reminds them of.

CD Player or an MP3 Player–Music plays in my classroom nearly every day. I love music of all kinds and collect movie soundtracks. Also, I try to keep abreast of the most popular music of the year. If it’s appropriate, we create dances and movement pieces to it.

Body Sox–These babies are tremendous! I learned about them in my graduate classes and I’ve used them for about twenty years now. If you want to teach the various parts of movement (definite/indefinite, press/float, light/heavy), I’d suggest purchasing some body sox. They are expensive, but perhaps over time, you could purchase several. Shy students really like them because they can try out certain movements without the other students observing them. Again, you can find these through Amazon.com.

Paper Masks–Obviously, there are many ways to use masks other than just to make them. Usually, we create them for our class plays. I suggest the ones from S&SWorldwide.com

Hopefully, the actor nightmare dreams are over for awhile. I hope these materials help you. I’d love to hear how you have used them, too!

Recently, I bundled forty-three products into one. A year-long theater curriculum!

Bundle: Year-Long Drama Lessons, Units and Plays

Looking for storytelling units?

Check out one of my best at: Storytelling with Student Created Pictures

What are some of your tips and tricks? I’d love to hear about them.

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

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Critical Steps in Choosing a Play or Musical: Stage Properties

Critical Steps in a Play or Musical: Stage Properties

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Critical Steps in Producing a Play or Musical: Set Design