directing

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

September 27, 2025 By dhcbaldwin Leave a Comment

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.

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

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.

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.

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.

Photo Gallery of DramaMommaSpeaks — Me as Miss Prism in The IMportance of Being Earnest

Ten Steps in a Play Rehearsal in Youth Theater

October 25, 2022 By dhcbaldwin Leave a Comment

Ten Steps in a Play Rehearsal in Youth Theater is one of those subjects you figure anyone who has acted at least once will know. Not so. This is a two part post. Next time, I’ll give you the rest of it, ok?

Lately, I’ve read several posts from newbie teachers with no idea about the steps of the rehearsal process for a play or musical. That seems odd to me, but maybe they are teachers whose focus is Language Arts, Social Studies? I know that sometimes the administration will ask to direct the school play or supervise the drama club, so that could be the reason for the unfamiliarity.

Regardless, I will take you through the process for both a play and musical. You can depend upon this process to prepare your young actors because I’m an expert in directing youth theater. Having directed over 350 plays and musicals with both adults and children, I know the process like the back of my hand.

Ten Steps in a Play Rehearsal in Youth Theater

I’m assuming you have the funds to mount your production. If not here are a few ideas for you: Turn Your Theater Department Fundraising Into A High Performing Machine

Step One: Selecting the Script

Before you, the director, do anything you of course must read several scripts and decide upon the one you like the most. I suggest you check out: Dramatic Publishing Company or Dramatists Play Service. but there are many more just as good. Keep in mind the number of characters, scenes, props and costumes. All that will matter when you begin to mount the production. I could write a whole post just about how to select a play or musical, but instead check out: Critical Steps in Selecting a Play or Musical: Casting

After you’ve chosen the play, you may want to announce it to your students. When? It depends upon when you plan to announce it and when the production is to be performed. Me? I announce a month ahead of the auditions and no sooner. I don’t like for students to focus on the show too much ahead of time. Before you know it, they’ve precast the whole show, purchased their own copy of it and maybe memorized lines. Oh, no, no, no!

Step Two: Auditions

Auditions will take a few days:

Day 1 and 2 Auditions

Day 3 Call backs

Day 4 Cast Announced

You may think this is a short time, but that’s what we are going for here. Do your best not to drag out the audition process–the outcome becomes too important to the students.

Ten Steps in a Play Rehearsal in Youth Theater

Advice: If you have an auditions and allow students to watch one another audition, then you may consider announcing to them something along the lines of, “From now on until the show is cast your behavior and attitude matter to me. No distractions are tolerated by me. I expect you to be quiet and attentive. No phones may be out. If someone happens to record another student’s audition and posts it publicly, the guilty party will be denied a role in the play. This is an unbending rule.”

Casting Tips

I also remind them that, “Although at the present moment it may feel like this is the only play in the world in which you could be cast, this isn’t true. This isn’t the be all, end all. Check around the city and see if anyone else is producing a show you could audition for and participate elsewhere.”

Post the cast list either on a Friday afternoon (when you can leave the school or theater for the weekend and give students time to unruffle their disappointed feathers) or post on-line on your website. Handling emails from parents on Monday is another blog post….someday.

Ten Steps in a Play Rehearsal in Youth Theater

Ten Steps to the Play or Musical Rehearsal Process in Youth Theater — First rehearsal of Mulan, Jr.

Step Three: Cast and Crew Read-Through

I’m old school, so I still call this meeting the “read-through.” Some people now call it a table read (I always thought that was only used for television or movies), but no matter. At this read-through, I ask the cast and crew to introduce themselves and the role or position they are filling.

Next, it’s time to share my concept for the production. I might have a collage of photos, textures, colors or I might just talk about my thoughts. Personally, I think a collage is the best because then everyone knows what you consider the color blood red, for example.

Ten Steps in a Play Rehearsal in Youth Theater

We read through the show. If I have a stage manager, they read aloud the stage directions. This is to give the cast a feel for the play not that we are going to use these directions. Not everyone knows that the stage directions that are printed in the script are honoring the first cast to have ever performed the play. It is not required that you use the directions.

The stage manager hands out a rehearsal schedule. I make it clear to the cast and the crew that their attendance matters. They all ready know the absence policy because I gave it to them at the auditions.

Step Four: Blocking Rehearsals

In the coming days, we begin blocking the play. If I am able to do so, I tape the stage giving the cast an idea of the size of the set, where stairs and doors are located, etc. Usually, I use folding chairs in place of the furniture. Everyone is aware that the chairs signify particular pieces of furniture.

Depending upon the length of the play, I usually block about 5 to 8 pages at the first rehearsal. Why not many? Because the cast is adapting to the script, plus the stage and my direction. Some young students need to write down their blocking before they even step on the stage. That’s your call.

Ten Steps in a Play Rehearsal in Youth Theater

Advice: You will not find that novice actors having a sense of blocking and staging. They can not block themselves nor frankly should they. You are teaching them about acting in a play–that’s part of the responsibility of someone directing youth theater.

The Blocking Process

I use a building block process when directing. Usually, I have two hour rehearsals with one ten minute break at half.

Day 1 block pages 1 to 8

Day 2 block pages 9 to 15 (or when there is a change in the mood or rhythm of the play) If a character enters the stage for the first time, they will change the dynamics of the play–I promise you. The playwright writes the scene this way on purpose. So, block to the entrance of the character. (When a character enters or exits the stage it is called a French scene.)

Day 3 block pages 16 to 20, review blocking 1 to 8. Less new pages to block, more time to spend on reviewing the first day’s blocking.

Day 4 block pages 21 to 26, review blocking 9 to 15 and so forth

Day 5 block pages 27 to 30, review Day 3 and Day 4 blocking.

Blocking Rehearsal

This part of rehearsal would continue until the play is completely blocked–a few new pages, several pages of review, until I am finished.

If you have a difficult scene (such as the dinner scene in The Miracle Worker between Helen and Annie), I take an entire rehearsal to block it.

Do I expect everyone to attend each rehearsal? No, I’d rather they did not. It’s just more students for me to be responsible for, more chances for talking and whatever else might bug me that day. 🙂

Ten Steps in a Play Rehearsal Process in Youth Theater

If you are interested in your students producing a play themselves, check out: How to Teach Play Production to Your Students

Step Five: Working and Developing Rehearsals and Off Book

Let’s say I have everything blocked by Day 10. Next we go into working and developing rehearsals. Working rehearsal are just that–we work through the play a few pages at the time (probably using two days of blocking at a time) and fix any problem areas or give the students more opportunities to practice together. Developing is just a fancy name for giving the play “air” as I call it. I give the cast a chance to settle into the play, adding their ideas here and there.

Advice: I expect students to practice on their own time–reviewing their blocking and memorizing their lines. I do not use rehearsals for line memorization. Those days can be excruciating for all of us as we listen to someone struggling with their lines. Frankly, it makes everyone listening anxious. Even though we trust the actor will have his lines down pat by opening night, it is still a bit nerve wracking. Wondered about tips to getting off book? Check out this fascinating video: How to Memorize Lines

Ten Steps in a Play Rehearsal in Youth Theater

Students should be off book for act one by Day 10 and act two by Day 15. Here is a blog post with three proven methods for memorizing lines: Three Ways to Memorize Lines for a Play or Musical I’m strict about this. What is off book? It is the day when the actors rehearse without a script in their hands. They can call for lines, but if it’s obvious they have not memorized their lines, I make them practice with their script as to not bring the mood of the rehearsal down.

Want your students to design their own costume? Theater Arts Unit Costume Design High School Level

After we have worked through the entire play, we have polishing rehearsals. I’ll talk about those in the next post. Your students would appreciate this: Watch Splashy Rehearsal

Or maybe you just want to teach all things technical? Here’s a bundle you may want to pick up for this purpose.

So there you have it–Ten Steps in a Play Rehearsal in Youth Theater. How do you run your rehearsals? It’s always nice to hear from you. You can contact me at DhcBaldwin@gmail.com or reply here. Here are more directing tips: Eighteen Ways To Make Your Directing Experience Less Stressful, Part One

Are you needing a FREE lesson? Pick up this one: Lin Manuel Miranda Famous Theater Biography

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/

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

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