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So You Are Directing a Musical…Now What?

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So You Are Directing a Musical…Now What?

Recently, I was interviewed by Jessica Peresta of the Elementry Musician podcast. Primarily, we spoke about drama integration. However we did speak about the process of directing a play or musical. Today, I’m going to discuss So You Are Directing a Musical…Now What?

Again, I forget not everyone knows the process.

So You Are Directing a Musical...Now What?

 

What are the steps to producing a musical with youth?

That’s a difficult question for me to answer because it depends upon the grade level of the students and length/complexity of the show.

Let’s pretend you are a fifth grade teacher who wants to direct a musical with your students. First, what musical have you chosen?  How long is it?  Thirty minutes or an hour?  How many songs are there?  The size of the cast matters, too.

Imagine your wonderful principal paid for your class (haha) to produce an MTI Kids musical. You selected Jungle Book, Kids.  Terrific! Now I know what we’ve got to work with.  I can’t say enough good about Musical Theater International musicals, especially all of the junior and kids versions.

So You Are Directing a Musical...Now What?

Jungle Book, Kids (credit Owen Lucas Photography)

So You Are Directing a Musical…Now What?

First, lets discuss the story: Banished by the ferocious tiger, Shere Khan, a human boy named Mowgli and his panther friend, Bagheera, are on the run in the deepest parts of the jungle. On their journey, the two meet a sinister snake named Kaa, a herd of elephants and a giant bear named Baloo, who teaches them the swingin’ musical rhythms of the jungle. After surviving a dangerous encounter with a band of monkeys led by King Louie, Mowgli and Bagheera are forced to run for their lives. When Shere Khan returns, our heroes must rally their fellow animals into battle and restore peace throughout the jungle.

Jungle Book has room for large cast so that’s wonderful for your students.  The show contains twelve songs–all very memorable and gleaned from the animated movie.  This helps you because the students will learn them quicker since they’ve probably heard them a bit.

The length of the musical matters, too. The show runs an hour with an intermission of fifteen minutes.  In other words, you have under sixty pages of material to direct.  (Remember there are twelve songs–that cuts into the scenes and lines quite a bit.)

Want to teach your students the beginning of creating a musical?  Check out:  Creating Your Own Musical

So You Are Directing a Musical...Now What?

Musical Theater Rehearsal Schedule Example

Let’s pretend it’s November 1.  You auditioned your class in October (prior to Halloween of course) and your first rehearsal is November 1, a Monday.  I would organize my rehearsals like this:

November 1–Read thru script, discuss the story, re-tell the story, etc.

November 2 to 4–Sing songs

November 5  Choreograph Song either the first musical number or the most difficult first (I discovered that if I got the toughest musical number out of the way near the beginning of the rehearsal schedule, we didn’t worry ourselves about it. Also, the students would have more time to review it than if we waited until its time in the script, such as near the end.)

So You Are Directing a Musical...Now What?

“Seussical, Jr.”  Fine Arts Guild of the Rockies Summer Theater Camp with my direction

Want to study a Broadway musical with your students?  Check out Broadway Musical Unit Study Guide for Matilda!

Musical Theater Rehearsal Schedule Example

This is an example.  I can’t remember how many scenes or musical numbers Jungle Book, Kids contains.  Usually, I use a building block method with young students, grades 3 to 5th.

Nov. 8–Choreograph Song

Nov. 9–Run Song #1 and Song #2

Nov. 10–Choreograph Song #3

Nov. 11–At this point, the students need a change.  I would block scene 1 and run it with Song #1

Nov. 12–Run Song #2 and #3 and review scene 1 blocking once more

Nov.  13–Choreograph Song #4 and #5 (because they are beginning to know what to expect and they are picking it more quickly than at the beginning)

Nov. 16–Block scene two and three, choreograph song #5

Nov. 17–Block scene four and five, run songs 3 and 4

Nov. 18–Block scenes six and seven, choreograph song #6

Nov. 19–Polish scenes one and two with songs (OFF  BOOK)

Nov. 20–Polish scenes three and four with songs (OFF BOOK)

Nov. 23–Polish scenes five and six with songs (OFF BOOK)

So You Are Directing a Musical...Now What?

“The Secret Garden” Apex Home Enrichment Program with my direction

Musical Theater Rehearsal Schedule Example

Nov. 24–To be Announced (This gives you some wiggle room incase you get behind, there’s a fire drill that causes an up roar or whatever.)

Nov. 25–Run Songs with Choreography

Nov. 26–Run scenes only

Nov. 27–Run thru

Nov. 30–Run thru

Dec. 1–Run thru with props

Dec. 2–Run thru with props and costumes (Notice how I continue to add to the process?)

Dec.3–Dress rehearsal with props, costumes and set

Dec. 4–Dress rehearsal

Dec. 5–Perform!

In 1981 when I began directing youth theater, I over rehearsed and over blocked. I’m sure it was being too conscientious and also too controlling.  Now, I almost under rehearsed them so they’ll have an edge for the show.  THERE IS NOTHING WORSE THAN A SHOW THAT’S WORN OUT BEFORE IT OPENS. (I can always tell.)

So You Are Directing a Musical...Now What?

“On Golden Pond” at Fine Arts Guild of the Rockies with my direction

So You Are Directing a Musical…Now What?

If you are directing older students, the rehearsal schedule is similar to directing adults if you are directing in a community theater.  Check out my post about community theater here: Are You Missing These Kind of People in Your Life?

Usually, my rehearsal calendar follows:

Two weeks of music–chorus numbers first (2 days) , small group (3 days) , solos (3 days) then the second week try practicing the Music in the order in which is appears in the musical (The magic here is to begin with the most difficult or complicated numbers first so they are completed early in the process)

Two weeks of choreography–large group numbers (3 days), small group numbers (3 days), solos (2 days) continuing in this fashion until everything is choreographed.

One week of blocking and/or staging (If you can, ask that everyone be off book at this time. Or at the very least calling for lines.)

Want to be the Cool Teacher?  Check out:  Six, the Broadway Musical Unit or Les Miserables or Sweeney Todd: The Demon Barber of Fleet Street

Musical Theater Rehearsal Schedule Example

Two week of polishing each scene and act.  Usually, I rehearse an act at a time (The magic during this process is rehearsing act one–Monday, act two–Tuesday  THEN beginning the next time with act two–Wednesday  and then act one-Thursday. Friday is your first full run thru)

One week of run thrus (add props and set pieces if possible)

One day of cue to cues, two dress rehearsals and then open!

As the director, you may feel like you aren’t needed very much in this second rehearsal calendar.  You are incorrect.  Your mere presence helps a cast to feel secure and acknowledged for all of their enthusiasm and hard work. Just being present and cheering on your cast means the world to them.

Want more directing advice?  Check out Ten Important Elements to Consider When Directing a Youth Theater Production

Looking for a FREE lesson or two?  Check out Drama Integration for Grades 6 to 8

or Creative Dramatics Lessons for Grades 2 to 5

How do you organize your rehearsals?  I’d love to know. Contact me at DhcBaldwin@gmail.com or DeborahBaldwin.net

woman behind DramaMommaSpeaks

Deb

 

 

 

 

 

The Meaning Behind “There Are No Small Acting Parts Only Small Actors”

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The Meaning Behind “There Are No Small Acting Parts Only Small Actors”

The Hidden Meaning Behind "There Are No Small Acting Parts Only Small Actors"

Let’s consider the meaning of  “There are no small acting parts, only small actors.” Constantin Stanislavski, considered the father of acting,  is credited with saying this quote. Here is a my director’s advice to actors seeking acting parts. Having taught/directed productions for over 38 years, I’ve experienced every kind of actor’s personality that’s possible.

However, first I want to consider my directing philosophy.  Although I am certainly not the father of modern acting, I do have an extensive teaching and directing career from which I can draw my opinions of the quote’s meaning.  Here’s my take on it. 

(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)

The Meaning Behind "There Are No Small Acting Parts Only Small Actors"

There Are No Small Acting Parts Only Small Actors

The Tony Awards are the Oscar Awards for Broadway–except they are more genuine in my humble opinion. Theatre is different.

One reason–it is special because it is live.

The Hidden Meaning Behind "There Are No Small Acting Parts Only Small Actors"

I was thinking about the performers who portray smaller roles in the nominated productions.  If you ever see them on television in a short quip on syndicated news or talk show, you’ll observe those supporting characters and chorus members are just as invested in the production as the leading actors.

That’s impressive.  Generally, the nominated actors and actresses began as chorus members and understudies many years ago.  They put in their time portraying small acting parts and earned their stripes to finally receive the spotlight. However, this is not always the case.  If you’d like to learn about Broadway actors and actresses, check out: Bright Lights: Broadway’s Rising Stars

There Are No Small Acting Parts Only Small Actors

The Hidden Meaning Behind "There Are No Small Parts Only Small Actors"

Just because you are cast in a small acting role does not mean you are not important to the show. If you think so, you have missed the point entirely.

You are still important to the show.  Believe me. 

If you find yourself unable to move beyond the belief that you should have been cast in a particular role, perhaps it’s time to redirect your focus elsewhere in your life. Coping with disappointment is an inevitable aspect of life, whether positive or negative. While nobody relishes the feeling of letdown, it’s essential to acknowledge its presence and explore alternative avenues for personal fulfillment.

 Get over yourself, you know? Do you agree with me?

The Hidden Meaning Behind "There Are No Small Acting Parts Only Small Actors"

I was Blanche in “Brighton Beach Memoirs” 1989

Some advice from me–if you aren’t cast in the acting part you wanted, it is not an important enough reason to drop out of the show.  Maybe you are to learn something or gain knowledge from the experience? Life is a journey, you know.

Director’s Procedure for Casting 

For several days after I cast a production, I deal with hurt egos of cast members or those who audition for me and didn’t receive the role they desired.

I’ve previously mentioned this–casting a production has a lot to do with who a director envisions in a role. Sometimes I have no idea who I want to play an acting part.  Other times, the right person walks in and is perfect. They are the essence of the character already. If you’d like more information about my experiences and advice, check out Eighteen Ways To Make Your Directing Experience Less Stressful, Part One Eighteen Ways to Make Your Directing Experience Less Stressful, Part Two

 Some people can mold themselves into what I am looking for in a character.  Those people are special because they are versatile.

Casting Questions I Consider

There are other factors in the decision to cast someone, however. For instance, do I know their work?  Are they responsible?  Also, have I known them to be difficult to direct and/or not a team member?

The Hidden Meaning Behind "There Are No Small Parts Only Small Actors"

I was Dot in “Cricket on the Hearth” 2000

Let’s discuss acting parts.  First, there are people who only portray straight roles.  Straight roles are those parts most closely related to your personality.  

Have you ever seen someone in a movie who plays the same sort of roles in each movie?  The role the actor portrays is much like his/her personality off-screen. Aha. Personally, I think Meg Ryan is a good example of someone who can only portray a straight role.

Additionally, there are character roles.  Character roles are those parts that are unlike you–because of your age, stature or personality. Paul Giamatti portrayed character roles with such genius. He’s up for an Oscar award for his work in The Holdovers. Also, Tracey Ullman is a super example. You may remember her from the voice of the mother on The Simpsons.  Another phenomenal actor is  Jared Leto. You won’t even recognize him in House of Gucci. 

Versatile Performer: Embracing Both Character and Straight Roles

Character roles:

  • Ugly Step Sister
  • Wicked Witch
  • Cowardly Lion
  • Shrek

Straight roles:

  • Cinderella
  • Rapunzel
  • Dorothy
  • Fiona

Luckily, I can play both straight and character roles. That makes me more valuable to a director.   To be honest, I enjoy performing character roles the most, because usually they are interesting and unique.

This is my opinion (but I bet a lot of directors would agreed with me)–It isn’t about playing the lead.  It is about who you are best suited to portray. 

This is such a great discussion question.  If you want additional class conversation questions, check out: Conversation Starters

The Meaning Behind "There Are No Small Acting Parts Only Small Actors"

About Me

Guess what?  I have not been cast in a production before.  No joke!  So, chin up! If you don’t receive the role you craved for, your time will come in the future.

If you are interested in my acting  journey, check this out: https://wordpress.com/post/dramamommaspeaks.com/389 

The next time the Tony Awards are televised, look for the chorus members or those supporting characters, folks portraying small acting parts.  See if you notice them.  You’ll only observe them filling out the stage–sort of like shadows in a painting.

There will be several actors who perform that evening that I know personally.  As always, I am very excited for them. Shout a “Bravo!” to your television. I will, too.

Perhaps they will magically hear us…

The Hidden Meaning Behind "There Are No Small Parts Only Small Actors"

I was Miss Prism in “The Importance of Being Earnest” 1976

From My Classroom to Yours: Drama Made Easy

Now, I’m a retired drama teacher who created drama education resources for teachers all over the world.  If you are looking for cohesive, engaging, fun drama lessons and units, check out my store at: Dramamommaspeaks Store

Teaching High School Set Design? 

Or are you looking for a bunch of FREE resources? Check out this category. Maybe you’d like to teach your students about a famous actor’s life?  Check out:  James Earl Jones or Julie Andrews

Have you ever not being cast in a production?  I’d love to hear about your experience.  Contact me at dhcbaldwin@gmail.com. 

 

The Hidden Meaning Behind "There Are No Small Parts Only Small Actors"

Eighteen Ways to Make Your Directing Experience Less Stressful, Part Two

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actors singing.jpg

Eighteen Ways to Make Your Directing Experience Less Stressful, Part Two

This is a continuation of my second post about my experiences in directing. Click here for my first post:

Eighteen Ways To Make Your Directing Experience Less Stressful, Part One

If I have learned anything over these thirty-eight years of directing it is that directing is stressful.  Hopefully, my lessons learned can help you!

9.  I begin and end rehearsal on the prearranged time. There is nothing worse than being told, “rehearsals will be from 7:00 to 9:00 pm” and then the rehearsal times change to three hours each night. Ugh.

10. Glib lines between weeks of the show. Glibbing lines is a way to rehearse the lines of the show in a quick and focused manner. Generally, I have my actors sit in a circle and run the lines, but other directors ask their casts to practice the blocking as well.

11. I announce a deadline for the off book date and stick to it. This is a biggie with me. Deadlines are deadlines. If I think a cast needs more time with their scripts in hand, I’ll adjust the schedule. But one can’t really “act” until her hands are free. The first rehearsal off book is usually laborious, if not excruciating. I bode up when I know it’s off book night, but the deadline is a necessary evil.

12.. Use rehearsal props and tape the floor to the set’s measurements. There are people who are tactile learners and all of us are visual learners. Using a rehearsal prop benefits the actor in several ways. Showing the set’s measurements, parameters, steps. window, etc. is hugely helpful.

13. I suggest to a cast, but don’t require, that they rehearse in the shoes they plan to wear for the show. It’s amazing how much an actor’s posture and gait will change once they don their shoes. Long skirts are necessary on ladies as well. We have become a very relaxed dress society. Some women have trouble carrying off the poise that they need once they put on heeled shoes and a long skirt.

DSC_0144.JPG

14. I always have two dress rehearsals.

15. I make time for a read thru of the script before my first blocking rehearsal. This gives me an opportunity to answer questions right from the beginning of the project. Everyone has a better idea of where I stand on everything.

16. I discourage an actor’s personal drama in rehearsals, encouraging them to leave it at the stage door. Enough said…

17. I  substitute swear words only  if I think the audience’s demographics can not tolerate them or the particular actor requests it of me.  If I think an audience is going to spend their whole evening shocked by a swear word, like the dirty four letter F word, then I’ll cut it. If I have an actor who is very religious and is uncomfortable when using the Lord’s name in vain, I’ll adjust the verbiage to something that will give the same feeling, but won’t upset him.

18. I teach novice and student actors the correct way to rehearse accepting that some will have their own method to rehearse.

19. I close my rehearsals to anyone outside the production staff or cast. There is nothing worse than having a surprise guest to rehearsals. It distracts me and my cast members.

W

( When I was six years old, I had  the opportunity to see Marcel Marceau in person in Paris, France. 

 I will NEVER forget it.)

20. I expect moments of frustration and euphoria in every rehearsal process. A little frustration isn’t going to hurt anyone, so long as it isn’t prolonged stress. And there is nothing more rewarding than a moment of “Oh my gosh, we did it!”

  I love to direct, I honestly do.  My resume is proof of that. If you’d like to hear my opinion about directing the Music Man musical, go to:  My Musical Recommendation and Why 

Next time, I’ll talk about my protagonist in Bumbling Bea, Beatrice Brace.

To purchase my book, Bumbling Bea, go to Amazon at Bumbling Bea

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

woman behind DramaMommaSpeaks