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directing advice

Why Every High School Theater Needs a Rehearsal Contract

February 6, 2025 By dhcbaldwin 3 Comments

Cast of Oklahoma and their first read thru

 

Why Every High School Theater Needs a Rehearsal Contract

Let’s talk about why every high school theater (and even middle school) needs a rehearsal contract. When I first began directing youth theater plays, I ran everything like a professional theater company.  That’s all I knew. Don’t be like me. It’s a wonder any students continued working with me.  I’m sure I was too strict, too rigid and too professional.  These are kids for heaven’s sake.  However, running a high school play or musical is no small task.

Between casting, scheduling, and final performances, there are countless moving pieces that require organization and commitment. One of the best ways to establish expectations from the start is through a rehearsal contract. If you do so, you will have less issues to deal with and that’s tantamount to keeping the stress at bay. Wondering about all the details of directing?  Check out:  Ten Important Elements to Consider When Directing a Youth Theater Production

You ask, what is a rehearsal contract?  A rehearsal contract is a simple document that outlines responsibilities, schedules, and rules for everyone involved in a production. It ensures that students, parents, and staff are on the same page, helping to create a smooth and professional rehearsal process.

Why Every High School Theater Needs a Rehearsal Contract

Why Every High School Theater Needs a Rehearsal Contract

  1. Attendance Policy
    Too often, I read in Facebook theater teacher groups about directors losing students to conflicts they never mentioned prior to casting the show.  Students should understand that theater is a team effort, and absences affect everyone. The contract should outline expectations regarding:
  • Required attendance for rehearsals and performances You need to decide how much you are willing to acquiesce to students’.  Me?  I don’t budge.  
  • Consequences for excessive absences.  Will they be dropped from the show?  
  • Procedures for notifying the director in case of emergencies–Do you want it in an email?  You must state this. 
  1. Rehearsal Schedule
    A clear schedule helps students plan accordingly. The contract should include:
  • Weekly rehearsal days and times  My advice is to begin and end promptly at the time you set.  Inform the students to arrive early if they want to visit.
  • Tech week expectations (longer rehearsals, no absences) If it’s over a meal time.  Will you feed them? 
  • Acknowledgment that last-minute changes may occur. Will you send out an email stating these or post it outside of your classroom? 

Why Every High School Theater Needs a Rehearsal Contract

Rehearsal Conflict: Calling the Right Actors at the Right Time

Note:  I’m a little different here–I only call the actors I need to work with in a particular scene.  Everyone is not called for rehearsal every day. If the scene includes other characters but they are not important to the blocking (a large cast scene, for example), I don’t require them until later.

Why?  Because the non-speaking characters can become bored very quickly. Or they might feel taken advantage of to have to rehearse when they aren’t the focus of the scene. (All actors have egos!) Check out my blog about double casting: Double Casting a Show? Here’s Advice

3.  Behavior Expectations
A rehearsal is only as productive as the attitude of the cast and crew. Guidelines should address:

  • Respect for directors, stage managers, and fellow cast members–Maintaining a quiet atmosphere is important
  • Staying focused and engaged during rehearsals–No talking during rehearsals
  • Cell phone usage and socializing limits–I don’t allow cell phones in rehearsals.  They are a huge distraction to everyone.  I warn everyone once.  After that, I begin taking phones away and setting them on the edge of the stage.

4. Line and Blocking Memorization
Deadlines for memorization help keep the production on track. The contract can specify:

  • When actors must be off-book.  For instance, when we block a scene, I remind them that  the next time we hearse this scene, I require them to be off book–they may ask for lines at this rehearsal, however.
  • The importance of learning blocking and choreography–I’m a real stickler for blocking. Additionally, I take great care and time pre-blocking the production and I have reasons that  I want the actors to use my blocking.  The blocking always motivates the lines. 
  • You may need to teach your students how to memorize lines and blocking.  Check out this post for help:  Three Ways to Memorize Lines for a Play or Musical
  • Consequences for failing to meet deadlines. If you set up rehearsals and expectations properly, you will not need consequences.  You could use a “three strikes and you are out” rule.

Why Every High School Theater Needs a Rehearsal Contract

Costumes, Props & Backstage Expectations: Taking Responsibility for the Details

5.  Technical and Costuming Responsibilities
The backstage crew and actors share responsibility for props, set pieces, and costumes. The contract should include:

  • Care and handling of costumes, props, and set pieces You need to make a list of what you expect here.  Do you expect the students to wash their clothes between shows?  Wearing deodorant? How about hanging them up properly?
  • Expectations for costume fittings–I also remind the students that they are wearing costume not a cute outfit to school.  It is different.  Plus, It is not uncommon for them to not like how they look in the costume (teenage angst) , but they will learn how to accept this in time.
  • Any personal items students need to provide (shoes, base clothing, etc.)

6.  Parent/Guardian Acknowledgment
Since high school theater often involves extended hours, transportation, and possible fees, the contract should require a          parent/guardian signature. This ensures:

  • Parents are aware of the time commitment  Spell it out several times. For instance, “Rehearsals run from 4:30 to 6:30 Monday, Wednesday and Friday. Then, beginning February 18, they will run Monday, Tuesday, Wednesday, and Thursday from 4:30 to 7:00 p.m.”
  • They understand financial obligations. Usually, I suggest mentioning this right up front.  This may keep some students from participating.
  • They are encouraged to support their child’s participation. Welcome your parents to be involved as chairs for committees such as box office, concessions, building the set, props and costumes. I’ve made great friendships with my students’ parents.  They are terrific cheerleaders for your program!

Why Every High School Theater Needs a Rehearsal Contract

The Benefits of Using a Rehearsal Contract

Sometimes, you will find that you are teaching the parents and the students how to rehearse and what is expected of them.  Remember:  A contract does more than just enforce rules—it builds accountability. Not only does it help students treat the production with a higher level of professionalism, it  prepares them for future performance experiences.

Additionally, it reduces confusion and ensures that parents, students, and staff share the same expectations from day one. By implementing a rehearsal contract, you’re setting your cast and crew up for success, creating a smoother process for everyone involved.

Looking for more information about directing a production with students?  Check out: Critical Steps in Producing a Play or Musical: Costumesor Critical Steps in Selecting a Play or Musical: Casting

A Freebie Just for You! 


Like always, it is my goal to help teachers by providing resources that lighten their teaching. Check out this rehearsal contract and see if it has what you need.  I’ve created a word doc. of it!! You can download it and work it from there.  I hope this helps you!  Click here: Rehearsal Contract

first rehearsal
First rehearsal of Oklahoma!

 


High School Theater Rehearsal Contract

Production Title: [Insert Play/Musical Name]
School Name: [Insert School Name]
Director: [Insert Director’s Name]
Rehearsal Start Date: [Insert Date]
Performance Dates: [Insert Dates]

1. Attendance Policy

The success of our production depends on everyone’s commitment. Cast and crew members agree to:

  • Attend all scheduled rehearsals unless excused in advance.
  • Arrive on time and remain for the full duration of rehearsal.
  • Notify the director at least 24 hours in advance if an absence is unavoidable.
  • Limit absences to [insert allowed number] before roles may be reassigned.
  • Be present for all mandatory rehearsals, including tech week and performances (no absences permitted).

2. Rehearsal Schedule

  • Rehearsals will be held on [insert days and times].
  • Tech week and additional rehearsals may be scheduled as needed.
  • Students must check the callboard/email for updated schedules.

3. Rehearsal Etiquette

  • Arrive prepared with your script, notes, and any necessary materials.
  • Give full attention to the director, stage manager, and crew.
  • Respect the rehearsal space—clean up after yourself and take care of props/costumes.
  • Keep talking and cell phone use to a minimum unless permitted by the director.
  • Support your fellow cast and crew members with a positive attitude.

4. Line and Blocking Memorization

  • Lines must be memorized by [insert deadline].
  • Blocking and choreography must be fully learned and retained.
  • Failure to meet deadlines may result in removal from the production.

5. Costume and Technical Responsibilities

  • Actors will be responsible for attending all costume fittings.
  • Proper care must be taken with all props, costumes, and set pieces.
  • Actors may be required to provide certain personal costume items (shoes, undergarments, etc.).

6. Behavioral Expectations

  • Treat directors, stage managers, cast, and crew with respect.
  • Disruptive behavior, excessive tardiness, or refusal to cooperate may result in dismissal from the production.
  • Follow all school rules and adhere to safety protocols.

7. Parent/Guardian Acknowledgment

Parents/guardians must acknowledge the commitment required:

  • Students may have extended rehearsals leading up to the show.
  • Parents are responsible for transportation and ensuring their child arrives on time.
  • There may be financial responsibilities for costume items or production fees (if applicable).

Agreement and Signatures

By signing this contract, I acknowledge my role in this production and agree to adhere to the rehearsal expectations. I understand that failure to comply with these terms may result in consequences, including removal from the production.

Student Name (Print): ____________________________
Student Signature: ____________________________ Date: ____________

Parent/Guardian Name (Print): ____________________________
Parent/Guardian Signature: ____________________________ Date: ____________

Director Signature: ____________________________ Date: ____________


This contract sets clear expectations while reinforcing professionalism in high school theater. Let me know if you’d like any modifications!

I hope this post gives you all the answers you are looking for, but if not feel free to email me at DhcBaldwin@gmail.com and ask me any questions you have.

Woman behind DramaMommaSpeaks

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Filed Under: acting, arts education, community theater, community theatre, directing experiences, drama education, Education, High School, middle grades, Musical Theatre, Producing plays and musicals, Teacherspayteachers, theater, theatre, youth theatre Tagged With: attendance policy, behavior expectations, costume responsibilities, directing advice, high school actors, lines and blocking memorization, parental involvement, rehearsal schedule, technical responsibilities

What Everyone Should Know About Selecting a Musical For Their School

July 5, 2023 By dhcbaldwin Leave a Comment

Today, I want to talk to you about what everyone should know about selecting a musical for their school. As much as it is exciting to think about what production would serve your students the best, it’s also a huge challenge to do so.

Before you, the director, do anything you of course must read several scripts and select the one you like the most. This needs to occur at least six months in advance–don’t wait on this decision. (Why?  Because everyone and their dog is getting rights to productions.) I suggest you check out: Music Theater International or  Concord Theatrical, but there are many more just as good. 

First, I’d look over the music and make certain you have students who can sing the roles. Check vocal ranges, too.  Musicals are notorious for having many scene and costume changes, so be on the look out for those needs.  All that will matter when you begin to mount the production.  I have a lot of experience with Music Theater International.  Check out this post concerning my opinion of them:  MTI Junior Musicals– A Dream Come True!

My First Choice for a Musical

People ask for my advice concerning which musical they should select.  Generally, if it’s their first musical I suggest the near classic The Music Man.  It is still my go-to if I have the opportunity to choose the production.

What Everyone Should Know About Selecting a Musical For Their School

Selecting a Musical for Your School

Here’s the synopsis straight from Music Theater International, “By turns wicked, funny, warm, romantic and touching, The Music Man is family entertainment at its best. Meredith Willson’s six-time, Tony Award-winning musical comedy has been entertaining audiences since 1957 and is a family-friendly story to be shared with every generation.

The Music Man follows fast-talking traveling salesman, Harold Hill, as he cons the people of River City, Iowa, into buying instruments and uniforms for a boys’ band that he vows to organize – this, despite the fact that he doesn’t know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian, the librarian, who transforms him into a respectable citizen by curtain’s fall.”

This script is written very well.  If you’ve ever seen a play written by Neil Simon, you know that no matter who directs it the script will carry the actors’ performances no matter their quality.  Meredith Willson’s book for The Music Man is the same way.  To think that this gem was written in 1957 and still stands the test of time, never feels dated or old is a testament to its quality.

Looking to teach how to write your own musical to beginning students?  Go here.

File:Meredith willson 1937edited.jpg

Meredith Wilson

Selecting a Musical for Your School

Ever heard the phrase “butts in the seats”? In theatre, one of our biggest challenges is paying the bills for a production.  Some companies mount only musicals because they’ve discovered musicals have wide appeal. They are big money makers which is a good thing, because they cost a fortune to just rent!

So, if you want to fill your venue’s seats with more than just parents and students’ friends, pick something like The Music Man as your first production. If you are the first person to begin a program in your school, you want to wow your audience and establish a strong foundation for the future.  I do not recommend you do the latest and trendiest musical right now, whatever it may be.  Establish your program first and then select something more modern.

I recommend Music Man because the show has been around for many years and people have either seen it many times, on screen and a theater or they’ve performed in it.  It’s a staple of most theater companies, especially community theater.

What Everyone Should Know About Selecting a Musical For Their School

Your Objective

It’s important for you to have an objective with your production.  Some questions to ask yourself–Are you trying to establish a new program?  Or establish yourself in the department?  Or do you want a theater program which parents can trust and support?

The selection of your future musicals and plays will address your objective if you first decide upon it. You can always change your mind after a year or two and head a different direction if you aren’t having the success you expect.

The Music

This music has a “toe tappin'” kind of feel.  A lot of the songs are very familiar to people and you will find that your students may not them by having heard them so much.  Songs like “76 Trombones” is the most famous.  Most of the music is easy to learn.

The only difficult is that of the barbershop quartet (aka the School Board) with songs such as “Lida Rose.”  Also, Marion has an exciting one–“My White Knight.” Generally, the music can be learned to sing either unison if you need or several parts or a full out chorus

What Everyone Should Know About Selecting a Musical For Their School

Cast Break down

The show requires thirteen males and females and a chorus.  Your chorus can be as large as you need which in a school setting is so helpful.   Your biggest challenge is finding a male to play Harold Hill, the lead.  If he can act well, but his singing isn’t the best that’s okay.  It’s most important that your female lead, who portrays Marion Paroo, be a lovely singer who sings soprano.

The Music Man is a terrific vehicle for females.  Halleluijah!  If you are producing this at the high school level, you can feature a group of dancers who portray the students in the band at the end of the show.  Also, you need a few younger students.  You can involve elementary students or use students who are small and look younger.

Several of the characters require acting which is comedic and broad. Generally, novice actors  can do this believably.  Directing broad acting is easiest for novice directors as well.  The Mayor, his wife Eulailee,  his daughter Zaneeta, Zaneeta’s boyfriend Tommy, Harold’s friend Nathan.

Plus, some members of the chorus such as the Pick a Little Ladies and the School Board have great moments for comedy.  If the acting becomes too melodramatic, it is easy to direct actors to “pull it back a bit.” I always say if you have a strong Harold Hill and Marion Paroo the show can ride on that!

What Everyone Should Know About Selecting a Musical For Their School

Set Design

Another plus to The Music Man is the set.  There are several settings in the show:  the library, the Paroo home and porch, the school gymnasium and the town square. They can be depicted with the use of flats made into periaktois which display the different places in the story.

If you have room for a turntable, it’s useful in this situation and keeps the production moving along smoothly.  If you have room for platforms, you could use them instead.  And the use of white lattices goes a long way to give the idea of a small town at the turn of the century.

What Everyone Should Know About Selecting a Musical For Their School

Costumes

As we probably know, costumes play a vital role in a production.  This show is set in the early 1900s.  Never you mind about that!  I’ve found that if you have one costume per person for this production you can get by adequately.  The woman need long skirts, long sleeved blouses with high collars.

The girls need calf length skirts and blouses like the ladies. The men and boys need trousers, a long sleeved shirt and a hat.  Generally, my Harold and Marion have several costumes. There is a barbershop quartet which are fun to dress alike and a group of ladies who dress in Grecian togas for one scene.  Everything is up to your concept, so just do the best you can. 

Here’s a secret.  If everyone has the proper shoe wear for the show, you can pull it off.  So, women in heeled lace up boots (which look like the time period), and children in a neutral shoe like a short boot or girls in a black flat are adequate.

A good place to find hats for this musical is Amazon.  I see they have skimmer hats for men.  Or you can purchase  inexpensive simmer hats which are made of  sytrofoam  and paint them with craft paint to look more believable.  In the past, my ladies purchased hats with large brims. They’d get together and have a hat party decorating their hat for their character. I’d suggest a few of these hats. Hot glue some flowers on these babies and you are good to go!

The only big challenge in costuming are the marching band uniforms.  Your solution is to talk with your music departments and see if they keep their old marching band uniforms.  If they do, you can use those.

What Everyone Should Know About Selecting a Musical For Their School

Stage Properties

Most of the stage props are simple to collect though a few are tricky. You need a firecracker or something that makes the sound of a firecracker for the gymnasium scene.  This show requires band instruments for your “kid band” to hold near the end of the musical  They don’t have to work very well.  Your students don’t need to play them so if they are broken but look fine, that’s okay.

I’ll be honest here. I know I’m partial to this musical.  My husband  and I met while he conducted the orchestra for a production of it and I played Marion.  In addition, I’ve produced and directed both the adult version and junior versions four times.

All I can say friend is, it works.  It works. every. time. If you are looking for a Broadway musical to study with your students, check out my Broadway Musical and Unit of The Music Man. It contains everything a busy teacher needs to be successful in teaching it and engaging their students.

So there you have it–what everyone should know about selecting a musical for their school.  What musical do you suggest to new directors?  I have several others I suggest as well.  They are another blog post.

Woman behind DramaMommaSpeaks

 

 

 

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Filed Under: acting, Arts, arts education, Broadway, community theater, directing experiences, drama education, music education, Musical Theatre, Producing plays and musicals, youth theatre Tagged With: casting, community theater, costume design, directing advice, set design, stage production advice, stage properties, The Music Man Broadway musical, themes

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