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Directing Youth Theater: 10 Dos and Don’ts

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Directing Youth Theater: 10 Dos and Don’ts

Directing youth theater is one of the most rewarding experiences you can have as an educator or theater arts person. It is also one of the most challenging. Over the years, I directed hundreds of productions and worked with students of all ages, personalities, and ability levels.  Along the way, I learned that successful productions are not built on talent alone. They are built on preparation, patience, leadership, and heart. In this post, I’m sharing 10 practical dos and don’ts I learned from 38 years directing youth theater.

Directing Youth Theater: 10 Dos and Don’ts

1. Begin rehearsal promptly.

Everyone needs to learn that you value their time and yours, too.  Don’t wait for late members to arrive.  Go ahead and begin rehearsal even if half of the cast is missing.  Once they are late once, they will never be late again.  You are teaching everyone what you expect.

Directing Youth Theater: 10 Dos and Don’ts
Honk Jr.

Directing Youth Theater: 10 Dos and Don’ts

2.  Create a Positive First Rehearsal

First impressions matter. Students walk into the first rehearsal excited, nervous, and full of questions. Set the tone immediately with warmth, organization, and enthusiasm.

Explain expectations, introduce the schedule, and help everyone feel welcome.

One of the first things I do in the beginning of rehearsals is to use warm up exercises.  Why?  It gives students, especially the new ones,  a chance to get a feel for the group. Plus, everyone gets over their jitters.  It’s difficult to step into a group of people familiar with each other.

Rehearsals Thrive on Structure, Purpose, and Respect for Time

Usually, at the first rehearsal, I lead a movement exercise.  The second rehearsal I lead a game. One of my favorites is Name Volleyball. This game forces everyone to learn names quickly.    Before the exercise or game I make certain the students understand the reason you selected it. This helps with buy in. If you’d like more information about this game, go to:  Name Volleyball,

Nothing unsettles young actors faster than confusion. Be consistent. If you appear disorganized, they may feel unsure for weeks afterward. If  rehearsals are planned for 6:30 to 8:30 in the evening, you must end at the time you planned. Parents appreciate the forethought.

Additionally, I only call cast members who are needed for scenes involving large groups. Usually, I get them settled into the blocking first then at the second rehearsal of the scene I  concentrate on the chorus.  That way, there is less downtime for those in smaller roles.

Directing Youth Theater: 10 Dos and Don’ts
The Miracle Worker

Directing Youth Theater: 10 Dos and Don’ts

3. Cast with Care

This is one of the most challenging issues you’ll have.  If you announce everyone will have a chance to read three times, then you must stick to that plan .  Students notice fairness. Additionally, they also observe who reads the most in call backs.  At this point, you are already communicating that you are leaning toward a particular person for a role.  Usually, I have someone who sits with me and marks on a list every time someone reads.  That way, we have a record incase you have a disgruntled auditioner. Be thoughtful, consistent, and encouraging during auditions and callbacks. Do your best to give everyone the same amount of attention.

Whenever possible, find ways for every student to feel valued. I like to double cast productions if I have enough people.  If you’d like to know more about how I double cast, check out: Double Casting a Show? Here’s Advice. Nothing damages morale faster than obvious favoritism. Every student deserves respect and attention, whether they have one line or fifty.

Students can be excited and aren’t always aware that others need your attention, too.  Decide how you’ll hand that ahead of time.  I ask my casts to arrive as early as thirty minutes before rehearsals and use that time for socializing or speaking to me if need be. Then I begin promptly.

Directing Youth Theater: 10 Dos and Don’ts
Willy Wonka, Jr.

4. Keep Rehearsals Moving

Young performers thrive when rehearsals are active and purposeful. Plan transitions, have materials ready, and keep downtime limited. If you focus rehearsal for over thirty minutes, students need a little break before they continue.

Momentum builds confidence. The cast begins to depend upon your expectations and this builds their overall confidence.

Additionally, I pre-block my productions whenever possible. Sometimes, I have the cast write in their blocking before we even stage the scene. One of my biggest pet peeves is expecting young people to know how to block themselves. If a cast needs it, I demonstrate the blocking or walk the movements with them so they understand what I want. They are also expected to practice their lines and blocking at home. Remember: you are teaching them everything—from how to rehearse to how to enter for their curtain call.

5. Teach the Inner Workings of Performing

As mentioned above, many students need to be taught what it looks like to be a part of a production.  This includes learning how to wait quietly backstage, hold a script properly, or take notes graciously. Important quick lessons about the reasons to leave props alone is always mentioned.  Also, I mentioned that although it is very inviting to spin oneself in the stage curtain or to give unwarranted suggestions they aren’t allowed. 🙂

 I like the stage to be swept before I begin rehearsals.  Usually, there’s a student very willing to do so. I expect the lady characters to wear character shoes when rehearsing if they will be wearing them in the show.  If the males are to wear cowboy boots, I ask them to purchase them as soon as possible so they can become accustomed to wearing them. If a girl wears a long skirt in the show, I ask her to rehearse in a long skirt. Two reasons for this–it helps them to learn how to move gracefully and also builds the character without even having to remind them. 

Directing Youth Theater: 10 Dos and Don’ts
Alice In Wonderland, Jr.

6. Praise Effort and Growth

Not every child will be the strongest singer or actor, but every child can grow. That is the real work of directing—teaching students to stretch themselves, take chances, and keep improving. Celebrate effort, teamwork, bravery, and persistence.

Be careful not to overpraise when directing youth theater. If a group scene feels weak, it is perfectly acceptable to say, “That wasn’t our best. I think we can do much better with that dance number. Let’s try again.” By including yourself, students see that you share responsibility for what needs improvement and that you are still supporting them as they learn.

Recognition Should Be Earned, Thoughtful, and Shared by All

If only the naturally gifted receive recognition, others may feel invisible. I don’t compliment until the show is up. However,  I laugh and smile during rehearsal and praise them.  Some students only work up to their potential if you are constantly praising them.  You don’t want to get into the habit of having to compliment someone just to convince them to do their best.  Teach them that hard work is its own reward.

A great director notices and gives attention to everyone. If the cast is large, you could give a positive note to a few students at each rehearsal. These notes can be as simple as, “Sarah, I saw you react to John realistically. Keep that.  John your best moment was when you angrily trudged up the staircase. I could tell your character was very angry. ” Students appreciate being noticed and understand you are trying to give everyone a pat on the back. 

Directing Youth Theater: 10 Dos and Don’ts
Aladdin Jr.

7.  Communicate Clearly with Parents

Parents can be your greatest allies when you keep them informed. Thanks to email and group communication apps. it’s easy to send schedules, costume needs, expectations, and updates early. By the time you are into rehearsals, you should know everyone’s conflicts if they have them.  Also, I don’t work around conflicts unless I absolutely have to do so.  That’s why I like to double cast!  There is usually one of the actors present who can rehearse the scene

Clear communication prevents unnecessary stress. Confusion about rehearsal times, tickets, or costumes can quickly create frustration. Delegate all the extra jobs as much as you can.  Inform everyone to communicate with the chair heads if they have a question.  Just this one thing will save you loads of time.

8. Build an Ensemble Spirit

 Everyone  understands that every role matters. Leads, chorus, backstage helpers, and crew all contribute to success.

If possible,  require every cast member to spend some time working on the production.  I encourage them to attend set construction time, volunteer to sew on a costume or collect props for the properties mistress.

Directing Youth Theater: 10 Dos and Don’ts
The Music Man, Jr.

9. Keep Productions Age Appropriate

When directing youth theater, always choose material that fits your cast emotionally, vocally, and developmentally. Remember this is about them, not you.  Some directors over pick their production. They have selfish reasons which have nothing to do with the students. I can always tell which director has their head in the game and who is directing to get kudos afterward.  Check out these posts if you want some tried and true  plays that are always successful when I direct them: 8 Middle School Plays That Work Every Time. Success builds confidence. However, the “big title” is not always the best title for your students.

10. Lead Them with Respect

In my thirty-seven years of directing youth theater, I can’t think of one time when cast members bullied another cast member. Even small moments of teasing or unsafe behavior should be addressed quickly and calmly. For some students this is their foray into being a part of a team. We don’t want students to never be involved again because someone made them feel lesser than.

Directing Youth Theater: 10 Dos and Don’ts
Seussical Jr.

 Remember Why Theater Matters

Youth theater builds confidence, empathy, creativity, discipline, and joy. Some students may never perform again after your show. Others may discover a lifelong passion. Either way, you are making a difference.

A good quote for everyone to memorize is, “We strive for perfection, but prepare for errors.” A missed cue or crooked hat will be forgotten. The confidence a child gains on your stage may last forever. Pick up this FREE research lesson about Cynthia Erivo.

Directing Youth Theater: 10 Dos and Don’ts
Alice in Wonderland, Jr.

Final Thoughts

Great youth theater directors are not simply producing shows—they are shaping young people.

Here’s a story I’ll never forget. One of my middle school students, a very shy girl, volunteered to be my assistant director for a junior version of The Music Man, Jr. When we came up short on cast members for the school board scene, I asked her to take a role. Later, I learned she went home crying because she was certain she would fail.

Instead, she faced her fears and discovered she could perform and entertain an audience. She loved it. Over the next several years, she grew into a confident performer and graduated the program after playing Ariel in The Little Mermaid. She later earned a BFA in performance and now directs and performs around the Kansas City area.

When directing youth theater, sometimes the greatest success story is not the standing ovation—it is the shy child who finally finds their voice.

What advice do you have for a new director? I’d love to learn about it.  Feel free to email me at DhcBaldwin@gmail.com

Directing Youth Theater: 10 Dos and Don’ts
Schoolhouse Rock, Jr.

Why Masks Help Reluctant Students Shine in Drama Class

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Why Masks Help Reluctant Students Shine in Drama Class

There was always room for creativity in my drama classroom. That is part of my mission—to approach theater from every angle, not just through acting. And like every drama teacher, I knew that student—the one who quietly hoped I wouldn’t call on them. They avoided eye contact, sank into their chair during improv, and whispered, “I don’t want to perform.”

Working with reluctant students in drama class can be one of the biggest challenges—and one of the most rewarding opportunities—for any theater teacher. Moments like these are exactly why masks can make such a difference. When used thoughtfully, masks help reluctant students feel safer, more confident, and more willing to participate. And you are not alone in using them, either.  The use of masks in performance has a long history in theater, as highlighted by The Kennedy Center.

The same student who hesitated to speak suddenly becomes curious, expressive, and willing to try. The mask becomes a kind of shield—one that actually frees them to participate.

Masks aren’t just theatrical props. Here’s the trick–Since it appears to be more of  an art project, they don’t equate it with performing.

Why Masks Help Reluctant Students Shine in Drama Class

Why Masks Help Reluctant Students in Drama Class Participate

According to Edutopia, creating a safe and supportive classroom environment is key to increasing student participation. Let’s consider the ways that masks nurture reluctant students in drama class:

1. Masks Provide Emotional Safety

One of the biggest barriers for hesitant students is the fear of being judged.

When students wear a mask, the focus shifts away from them and onto the character.

Students often feel:

  • Less self-conscious

  • Less worried about facial expressions

  • More comfortable taking risks

In many ways, the mask gives them permission to say, “That wasn’t me—it was the character.” To be truthful, that is one of the reasons I love to act.  I can portray characters that I simply can’t be in real life. I make bold choices when developing the character because it is someone else in my mind, not me. 

Students are familiar with masks.  Usually, students make masks in elementary school several times–either in art class or decorating a mask for Halloween.  Masks are kid-friendly!

Why Masks Help Reluctant Students Shine in Drama Class

2. Masks Encourage Physical Storytelling

Because facial expressions are hidden, students must communicate using:

  • Body language–The body can communicate feelings more easily than saying them. 

  • Gesture–A firm gesture or a soft one gives the character an extra dash of characterization

  • Movement–We can’t forget movement!  Usually, one of the first rehearsals my student spend moving around the space like their character. Does he limp?  Does she walk with her nose facing the floor? 

  • Posture–A simple change in one’s posture can say as much as a line.  Tip your head up and the character demonstrates arrogance.  Or tip your head down to show you are bashful.

This helps reluctant performers discover that acting isn’t just about speaking loudly or memorizing lines. They can tell a story through movement alone.

For shy students, this can feel far less intimidating than traditional acting.

3. Masks Build Ensemble Work

Masks level the playing field.  When everyone is wearing a mask, students feel like part of a group rather than individuals being singled out. This is probably the most important reason students are successful when wearing a mask. I can’t think of a time when a student wouldn’t want to wear their mask unless they were displeased with how it turn out. 

This creates:

  • Stronger ensemble awareness

  • Shared creativity–If Susan comes up with making long curly eye lashes and large lips for her mask, Ashley might use the same idea. 

  • Reduced fear of standing out–Middle schoolers change drastically from the beginning of sixth grade to finishing eighth grade.  Although they want to be individuals,  at this point in their lives, they are more concerned with being part of a group. 

It levels the playing field. Even confident performers must rely on the same tools as everyone else. In addition, as you might expect, I’ve found that some students are excellent artists. Perhaps they are introvertive around others, but express themselves beautifully through the mask. Once they put on their mask, sometimes they are seen for the first time in my class.

4. Masks Spark Imagination

Masks invite students to ask questions like:

  • Who is this character? Are they proud, mean, angry or gentle?

  • How do they move? Do they move with purpose, slither around or pounce on others?

  • What kind of world do they live in? Is their world full of others they can’t trust?  Or are they relaxed in a peaceful setting? 

Suddenly the classroom becomes a creative playground where students experiment without worrying about getting it “right.”

If you’d like lessons about acting methods, check out:  Uta Hagen Acting Styles Method

5. Masks Help Students Discover Confidence

Over time, something remarkable happens. Students who once hid behind the mask begin to realize they can perform. Many teachers notice that after several mask activities, students become more willing to perform without the mask. Consequently, the mask becomes a bridge to confidence.

reluctant students in drama class using masks

Ready-to-Use Paper Masks for Your Next Drama Lesson

Arts-based strategies, supported by organizations like the National Endowment for the Arts, can help students engage in new and meaningful ways. Many years ago, I ran upon an art supply company who has masks I ordered several times.  The S and S World Wide Arts Supply  is where I’d begin.  Check out their paper masks:  Color Me Cardstock Masks. These masks are precut with opening cut for the eyes, mouth and nose. Note: You will need to purchase thin elastic to use around the students’ heads. Your students can use markers on them or cover them with construction paper.

If you teach elementary aged students, check out Blank Animal Masks.  Or pick up an Animal Masks Craft Kit .  They are larger than the animal masks but have features printed on them, such as teeth, whiskers, noses and ears.

Blick Art Supply carries a few different masks.  Creativity Street Paper Mache Masks. Also, Creativity Street Pulps Masks are versatile and different from the other company.  Look for bulk pricing.  Lastly, look at Roylco Fold up Fun Mask. You receive 40 masks in one kit!

Simple Mask Activities to Try

Here are a few easy ways to introduce masks in your drama classroom.  Here’s a tip–I always play classical music in the background and even turn the classroom lights down low.  Both things help everyone to concentrate and release their inhibitions. 

1. Silent Mask Walk
Students walk around the room exploring different characters through posture and movement.

2. Emotion Switch
Call out emotions and have students express them using only body language.

3. Mask Tableau
Students freeze in group pictures that tell a story.

4. Mask Story Circle
Students add one movement at a time to create a group story. 

Masks can make such a difference, especially for students who need a little extra confidence. If you’re interested, I’ve put together a couple of mask resources—Woodland Creatures and Superhero Masks—that are easy to use and student-friendly.

👉 You can check them out here. Masks on Dramamommaspeaks

Final Thought

Masks are a powerful tool for engaging reluctant students in drama class. For some students, drama can feel like standing under a spotlight. But sometimes all they need is a mask.

Behind that mask, students discover the freedom to move, imagine, and participate in ways they never expected.

And before long, they realize the courage was inside them all along.

How have you reached reluctant students in your drama classroom? I’d love to hear what’s worked for you. Email me at DhcBaldwin@gmail.com

Why Masks Help Reluctant Students Shine in Drama Class

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

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.

Woman behind DramaMommaSpeaks

Easy-to-Use Middle School Drama Lessons: Volume 1

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Easy-to-Use Middle School Drama Lessons: Volume 1

My second year of teaching
School photo of my second year of teaching

Today, let’s talk about easy-to-use middle school drama lessons, volume 1, shall we? I bet you’d agree with me–teachers are conscientious people. We are like a dog with a bone–we just don’t give up.  When I began teaching, my first three years of teaching (English) were exhausting and challenging.  In fact, I had never student taught the subject.  Plus, I was on my own  trying to understand the scope and sequence pacing.

Back then, we did not have mentor teachers. A nice, equally young teacher  gave me a huge tome complete with English department standards with outcomes expected by grade level.  It was filled with jargon which I had to translate into laymen terms before I could even consider teaching them! Talk about overwhelm. However, I never gave up and learned tons from teaching English for those three years.

From Grad School to the Classroom: What Really Works with Middle Schoolers

Time went by and I survived those first years of teaching.  Later, when I began teaching a pre-elective drama class for middle schoolers, I had just finished my M.Ed. in Creative Arts Learning. It was perfect timing—I ended up using so many of those teaching methods in the classroom right away.

What I learned over many years is that middle school students need variety and short bursts of learning.  Of course, it’s good if it’s fun, too.  (Trust me, here.  My students and I laugh a lot in a class period.) Looking for a play to direct? Check out: 8 Middle School Plays That Work Every Time

My lessons generally followed this pattern:

  • warm up (15 mins.)
  • teacher lesson (10 to 20 mins.)
  • student application (15 mins.)
  • cool down, exit slip, etc. (5-10 mins.)

What’s Inside Volume 1?

Easy-to-Use Middle School Drama Lessons: Volume 1

Even though this was a pass/fail class, I had the opportunity to teach as much or as little theater information as I liked. The principal left it up to me which was gratifying to way the least.   Also, I taught them the rudimentary concepts of stage geography, stage positions, blocking positions, acting positions, and movement. Most youth theater and school theater programs focus on the actor.  I knew that the concepts of stage orientation would be needed no matter what program or class they enrolled in next time.

Hooked from the Start: Building Excitement and Ownership in Drama Class

Additionally, students learned about the origin of theater (did it begin through myth or ritual?).  We had  lively debates discussing their opinions.  By establishing the class with this resource, a teacher can put their students in the driver’s seat right off the bat.  They learn that their opinions count!

Always I kept it in mind that I wanted my students to enroll in another drama class after mine.  Most importantly, I wanted them to leave my class so in love with theater arts they couldn’t wait to learn more about it.

Easy-to-Use Middle School Drama Lessons: Volume 1

Why Teachers Love It

It is not out of the ordinary for me to receive a positive review.  I’m thrilled that I helped a teacher! 

“My students loved this unit for my theater class.  I have always struggled on how to teach set deisng in this class and your presesntation took me step by step through the procerss! Plus, I was able to modify it for my Behavior Theater class who loved the hands on aspects of this unit. ”

“Thank you for the teacher’s script and details. YOu could easily print and use this in your classroom immediately. SO MUCH DETAILS and SO MANY OPTIONS! I can use it all or in pieces as time allows. Thank you.”

My Favorite Lessons in the Volume

Easy-to-Use Middle School Drama Lessons: Volume 1

One of my favorite units to teach is set design.  Students enjoy it because it’s concrete.  It’s not that scary acting/ emotion stuff! Plus, I focus on fairy tales as the theme.  When I first began teaching this unit, fairy tales hadn’t become as popular as they are at present.  In fact, some students weren’t even familiar with the story of The Three Little Pigs!

However, now that fairy tales are popular in television and film, students nearly jump at the opportunity to create their own set for whatever fairy tale story they choose. The unit includes titles such as Cinderella, Little Red Riding Hood or Jack and the Beanstalk.

Storytelling Japan Student Created Pictures Drama Lesson Kamishibai Drawing

In addition, I enjoy teaching about Kamishibai Storytelling.  If you are unfamiliar with Kamishibai, you’ll enjoy how well it works in the classroom.  Got shy students?  You can encourage to break out of their shell through this unit.  First, you’ll put your students into teams of two to create their stories. They draw their story and finally they perform them in tandem.  Talk about win-win!

How to Use It Throughout the Year

Easy-to-Use Middle School Drama Lessons: Volume 1

Have you picked up a copy of my Scope and Sequence resource of drama lessons?  It’s free to you and will give you a comprehensive and organized plan.  You can find it here: Scope and Sequence, Vol. 1.

When you pick up the scope and sequence guide, you’ll notice that I suggest beginning the learning with the basic components of theater.  They include tableaux, movement, sound effects, improvisation, movement, etc.  Furthermore, there is time for designing a set and costumes, too.  I’ve included everything a teacher may need from teacher’s scripts (so you know what to say) to procedures (with time stamps) to warm-up exercises, live video clip links and a rubric or two.

Drama Class Theater Curriculum Middle School Vol. 1 Acting Improvisation Plays

So, there you have it!  I hope you’ll grab Volume 1 here to take the guesswork out of teaching drama! Or…buy Volume 1 and 2 here: Bundle Volume 1 and 2 Middle School

Looking for more?  Check out my new book, We’re Live! Radio Theater #101–all about how to use radio theater to engage students in any classroom.

Easy-to-Use Middle School Drama Lessons: Volume 1

Got a question or request?  Just email me at DhcBaldwin@gmail.com.  I’d be happy to help you!

Woman behind DramaMommaSpeaks

P.S.  If you all ready own these, check out volume 3!  It’s brand new:  BUNDLE MIDDLE SCHOOL CURRICULUM VOLUME 3

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

 

Unmasking Drama: Engaging Small Classes

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Unmasking Drama: Engaging Small Classes

Unmasking Drama: Engaging Small Classes Effectively

Today, let’s discuss Unmasking Drama: Engaging Small Classes. Picture this: You are ready to teach on your very first day of classes. Excited, you double-check the student roster. Hmmm. At last check, there weren’t too many students signed up for your class. However, you knew that in the last days of summer, usually some stragglers sign up. In walk two students. Even though your roster listed these two students’ names, you are certain there are more arriving any minute.

You wait five minutes. The two students look uncomfortable and you are apprehensive. You think, “What can I do with a class of two? How can I still make this class engaging? “ Disappointed, you throw out your plans for the first week of class.

Unmasking Drama: Engaging Small Classes Effectively

Unmasking Drama: Engaging Small Classes

Does this sound like you? I’ve been in this position before. Teaching drama to a small group is a unique challenge. Unlike math or even art, drama thrives on human interaction, group dynamics, and ensemble work. So, what do you do when your “ensemble” consists of just two or three students?

Occasionally, a teacher will email me begging for help with teaching their class. They have a small class of students. The question to me is usually the same: Is it possible to teach drama to a small group of students?

My answer is always a resounding, yes! I’ve taught several classes with only one or two students. These were home school students in a huge enrichment program. Your success depends upon a few things, some of which are somewhat out of your control. However, there are many things you can control, and with a little creativity, you can turn a small class into an enriching experience.

 

Unmasking Drama: Engaging Small Classes Effectively

Unmasking Drama: Engaging Small Classes

1. Limited Ensemble Dynamics

With fewer students, it’s harder to create the rich, spontaneous interactions typical in larger ensembles. Each student’s contribution is magnified, and the diversity of ideas and energy might be more limited. At times, I’ve noticed that when a student receives too much attention, they can become overly dependent on me when struggling with a concept.

2. Individualized Needs

In a small group, differences in skill levels, personality, and confidence become more apparent. This is where the teacher’s level of exhaustion comes into play. You must tailor lessons, provide personalized feedback, and ensure that each student’s unique needs are met without compromising the group’s overall progress.

3. Risk and Vulnerability

Drama often involves improvisation and exposing one’s vulnerabilities. In a small setting, students may feel overly visible or pressured, making it tougher to foster a safe space for experimentation and risk-taking. (If one student resists and you only have two in the class, your chance of success has dropped by 50%!)

4. Building Group Cohesion

Developing trust and a sense of community is essential in drama. With fewer participants, it requires extra effort to ensure that all students connect and collaborate effectively. Absenteeism, students not learning their lines, or unfinished projects can bring your class to a standstill.

Solutions & Strategies for Success

Quick Fixes for Small Classes

  • Lean into one-on-one coaching: Treat it like a personalized drama mentorship.
  • Adjust group exercises for two or three people: Focus on duologues, monologues, and character studies.
  • Expand beyond acting: Let students explore directing, playwriting, and design.
  • Use multimedia tools: Record performances, create podcasts, or study filmed theater.

Now, let’s look at how I put these strategies into action.

Unmasking Drama: Engaging Small Classes Effectively

Emily’s Story: Adapting Drama for One Student

Emily was a wonderful homeschool student in my drama class. Several other students were signed up but dropped at the last minute. Since I had previous teaching experience with Emily and knew that if I canceled the class, she’d be crestfallen.

Inventory the Student’s Interests

To begin, I interviewed Emily to discover which aspects of theater interested her most. Ha! All of it! We discussed book titles that had been dramatized, musicals she liked.  Additionally, we considered whether she wanted to be realistic or fanciful in her set and costume designs. By giving Emily opportunities to choose the differentiation, I knew that we’d be more successful than had we not done so.

Unmasking Drama: Engaging Small Classes Effectively

Creating a Personalized Curriculum

Since I was teaching Emily once a week from August to May, we structured  our plan together. Here’s what it looked like:

Lesson Plan for a One-Student Drama Class

  • August: Icebreaker games and warm-ups that work for two people (e.g., Add a Word storytelling).*
  • September: Read the play version of Peter Pan aloud.
  • October: Studied and designed costumes for Peter Pan. Emily even sewed Peter Pan’s hat!
  • November: Explored set design and built a model of the Peter Pan set.
  • December: Watched the Peter Pan musical and compared it to the play version.
  • January & February: Studied stage properties. Emily designed and built a cardboard broadsword using an instructional video.
  • March: Studied stage makeup and designed a look for Captain Hook.
  • April: Selected a three-person scene from Peter Pan to perform. I invited two girls from another class to rehearse with Emily.
  • May: Performed the scene for Emily’s parents and she wrote a reflection about her experiences during the year of learning.

*Generally, we began each class with a warm-up exercise of some kind that tied to the subject of the day.

If you are in need of particular lessons for this plan, check out:  Dramamommaspeaks Store

Unmasking Drama: Engaging Small Classes Effectively

Alternative Approaches for Small Classes

Rotating Focus Each Class

Another way to teach a small drama class effectively is to structure your lessons to explore different aspects of theater each session:

Creative Drama Exercises for Small Groups

Here are a few engaging activities tailored for 1-3 students:

  • “Mirror, Mirror”: One student mimics another’s movements to build focus.
  • “What are you doing?: Take turns informing each other something they must do that is physical, “I’m mopping the floor.”
  • Table Reads: Read and analyze famous plays.
  • Monologue Swap: Perform the same monologue in different tones/moods.
  • Character Walks: Move around as different characters to develop physicality.

Unmasking Drama: Engaging Small Classes Effectively

Final Thoughts: Reframing Small Classes as an Opportunity

Thus, as you are aware, teaching a small drama class can feel isolating or discouraging. But it also offers a unique opportunity for deep, personalized instruction. Most importantly, the key is to lean into the strengths of a small class, offering students individualized coaching, creative freedom, and opportunities to explore theater beyond acting.

Your Turn!

  • Have you ever taught a small drama class? What creative solutions worked for you?
  • What are your favorite duo or trio scene studies? Drop your recommendations below! Or Email me at DhcBaldwin@gmail.com

I hope this blog post, Unmasking Drama: Engaging Small Classes Effectively has been helpful to you. Need more ideas? Check out my post on How to Use a Hybrid Lesson in Your Drama Classroom Tomorrow.

Woman behind DramaMommaSpeaks