drama education

Notable quote from Bumbling Bea

September 16, 2016 By dhcbaldwin Leave a Comment

OH.MY.GOSH!

Peter drifted up on the stage near me, scratching his arm so hard welts appeared making faint pink stripes right down to his wrist. Then I noticed little raised bumps, like drips of honey, creeping toward his neck. At one point, they stopped and leapt toward the opening of his tee shirt which Peter kept pulling away from his neck at the same time he was striping his arm with his scratching. He was very busy. I’m no expert, but I think that’s an allergic reaction to something…Like an allergic reaction to poison ivy? But Peter said his grandpa told him he probably wasn’t allergic to it! Probably…

Oops.

Contact me at dhcbaldwin@gmail.com or BumblingBea.com

Purchase my award winning book, Bumbling Bea at: https://www.amazon.com/Bumbling-Bea-Deborah-Baldwin/dp/1500390356/ref=sr_1_1?ie=UTF8&qid=1474053300&sr=8-1&keywords=bumbling+bea

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

Critical Steps in Selecting a Play or Musical: Casting

August 17, 2016 By dhcbaldwin 2 Comments

Into the Woods Performing Arts in Children’s Education July 2004

Critical Steps in Selecting a Play or Musical: Casting

Today, I want to discuss the critical steps in selecting a play or musical: Casting. Have you ever seen someone do something that you know is very difficult to do? Have you thought that they make it look easy? Me, too. I’ve been watching the Olympic Games and in particular I’ve enjoyed cheering on Simone Biles as she catapults herself all over the gymnastic mat. Incredible!

An experienced director looks much the same way. They make it look effortless. It is not. Casting a production can be challenging, or easy and even fun but it can also be hugely nerve wracking.

In this series on selecting a play or musical, this is the next item to consider–casting

first rehearsal — First rehearsal of *Oklahoma!*

Assessing Talent Requirements: Matching Roles to Performers When Casting

1. What abilities are required of performers for this production?

First, you have to look at the roles and decide who is most essential. Does the show require tap dancers for 42 Street (not easy to come by in adult actors) or singers who can sing in six part harmony for Sweeney Todd (not easy to come by either)? How many men? Men aren’t in great number in community theatre. Many plays and musicals require more men than women (aint’ it the way ?)

If the play calls for a thirteen year old female for The Diary of Anne Frank, do you have one who can play the character? If an elderly man is needed for King Lear, do you have person who can play it? How about someone who can dance the ballet in Oklahoma? Or juggle in Barnam? Or you think could learn to juggle? Really take the time and be honest with yourself about what the production requires. My advice: If you don’t think you have the people (or at least l/2 of them) that you need BEFORE you hold auditions then change shows.

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

2. What artistic expectations do you have of the company for which you are working?

If you are a guest director, I’d survey the theatre company you are working for and ask for their mission statement. It may express something about including all community members participating in their productions. Looking to cast a youth theater production? Check out: Ten Steps in a Play Rehearsal in Youth Theater

What does that look like exactly? If they expect you to cast someone with a physical challenge, such as a blind person or one with hearing loss and you are directing The Miracle Worker for them, then you need to know that right up front.

Some companies leave everything to the director to decide. That’s nice. However, sometimes the company will return to you later and request, “We need you to cast So-and-So because his father is a board member.” Have a personal opinion about such “favors” before you begin. It will save you heaps of time and headaches, I guarantee you. Make your wishes known as you pre-plan the show.

The Music Man Theatre Reading Young People and Schools 2001

3. Casting is a bugaboo

As I mentioned, casting has the capacity to be difficult. Experienced directors will share with you that casting can be very random. When casting productions I use my intuition to select the actors. If the essence of the character seems to be a part of the actor’s persona. When I am unfamiliar with the actor auditioning, I will attempt during auditions to direct them in the characterization I’m seeking.

If we (and I do mean “we”) can reach a common vision for the character, then I will be interested in casting them. I don’t always have success with this method, but I am wiling to take a chance.

Unfortunately, there are directors that pre-cast their productions. I really dislike that. If Sue is cast that was not pre-cast like Mary, somehow Sue will find out that Mary was selected ahead of time and that can make for hard feelings within the cast. Play fairly.

Assessing Talent Requirements: Matching Roles to Performers When Casting

I think it is all right to invite people to audition for my shows, but I have a disclaimer clause that I mention to them, “I can’t promise you a role, because that wouldn’t be ethical. But I am interested in hearing you read several parts. If I cast you, I will treat you like every other cast member as I know you would want me to do. That’s only fair.” That’s sort of a salesman’s assumptive close, because it implies that the invited person would want to earn the part on their own merit, OF COURSE and not cheat to win it.

Critical Steps in Selecting a Play or Musical: Casting — The Giver 2012

4. The Talent Pool

Do consider whether you have actors who can sing the roles, dancers who can play dancing roles and actors with the hutzpah to carry off a two hour show. If not, then I’d change shows. Sure, there are directors who say, “Well, we will make it work.” Really?

If the theatre company you are directing for has no problem with unqualified actors portraying roles, then give it a go. Will you be so distracted by the duck-out-of-water person that you can not fully engage with the show? Trust me, I’ve learned the hard way. Once I cast a woman who was an incredible actress when she was young, but hadn’t acted in thirty years. She was anxious about her lines, consequently taking herself out of the performing experience– inebriated. I knew in my heart that this experience would be too much for her, but I went ahead and cast her anyway.

Consequently, I had to replace her with myself! I should have known better.

Some award-winning performers quotes about auditioning

Hugh Jackman (actor, musical theatre performer):

“Auditioning is really about being present and showing who you are—not trying to be what you think they want.”

Lin-Manuel Miranda (creator of Hamilton, In the Heights):

“Auditions are weird—you’re not trying to play a role; you’re trying to convince them you could play it.”

Philip Seymour Hoffman:

“Auditioning is a chance to act, so I never thought of it as torture. It’s a chance to play for five minutes.”

Alan Rickman:

“Talent is an accident of genes—and a responsibility. Auditions are where you prove you know what to do with that responsibility.”

Kristin Chenoweth (Broadway performer):

“Every ‘no’ in an audition is one step closer to the ‘yes’ that’s meant for you.”

A Secret of Mine

If you are there to set the benchmark for future directors and productions, then by all means only cast the very best. I’ve directed all skill levels, some brilliant artists and some not so great. I’ll tell you a secret:

If audience members are judging you by one actor’s performance, then they need to go home. 🙂

Herding cats is easier than directing.

Go to my next blog concerning set design and construction.

What insights to do you have about auditioning? I’d love to learn about them? Contact me at Dhcbaldwin@gmail.com

Readers’ Favorite Book Review of Bumbling Bea

May 9, 2016 By dhcbaldwin 2 Comments

This is huge, folks! I am very flattered.

Reader’s Favorite Review

Reviewed by Sarah Stuart for Readers’ Favorite

“Bumbling Bea is a story that will echo the experiences of many youngsters. Beatrice regrets that her parents live apart and she often blames her father. However, Beatrice attributes disasters, resulting mostly from activities aimed at being popular at school, to Bumbling Bea, her alter ego. Bumbling Bea ignores Beatrice’s own opinion that she has no talent for acting and goes ahead to audition for the leading role in the annual play. She reckons without Michiko, a Japanese girl new to the school, but Bumbling Bea conceives a diabolical plan to defeat the stranger. When Beatrice’s alter ego takes over, any skulduggery goes.”

Bumbling Bea Cannot Fail to Become a Favorite
“Bumbling Bea by Deborah Baldwin cannot fail to become a favorite with pre-teen readers, and very likely teenagers too, because the mixture of pathos and humor is so realistic. Ms Baldwin establishes Beatrice’s character before the subject of playing Pocahontas arises. When it does, Beatrice finds that the play is a modern rewrite of the one she had used to rehearse, immersing herself in the part of Pocahontas. How can she do a good audition? Alter ego Bumbling Bea’s muddles and misguided remarks already had me laughing aloud; I couldn’t wait to find out how far she would go to stop her new Japanese classmate, Michiko, from stealing the limelight. There is a subtle message behind the fun and the brilliant descriptions of amateurs staging a performance of a well-known musical film. Bumbling Bea is a story about friendship, and why it matters more than popularity “bought” by attempting to be the best at everything.”

Contact me at dhcbaldwin@gmail.com or Bumblingbea.com

Teacher Testimonial on My Book Talk–Terrific!

March 22, 2016 By dhcbaldwin Leave a Comment

“My middle school Novel Writing Workshop enjoyed a presentation by Deborah Baldwin, author of Bumbling Bea. The students had read the book and had many questions for the author. One boy asked, “How did you know how to write such ‘with it’ dialogue?” Baldwin’s answer delighted the students! “Since I am a teacher, I just listen to you guys and then I know how a middle schooler talks!” The students were interested in how long it took her to write the book, how she decided on the title, the conflicts, and how she got it published. Baldwin’s lively presentation, her ability to connect with middle schoolers, and her invaluable tips for the class of would-be authors made for an unforgettable visit with a REAL author!”

Marilyn McQueen, Writing Instructor

If you’d like for me to present a book talk on Bumbling Bea for you, here is what you receive:

an hour long presentation with a short power point
humorous and entertaining
teaching on Kabuki theatre
dramatic reading from my book
question/answer time
it can be tailored for your needs

Recently, I adapted Bumbling Bea into a play version for middle school students. If you would like for me to present on play writing and how to adapt a book, this is a possibility as well.

Interested? Contact me at dhcbaldwin@gmail.com

An Indie Publisher/Fantasy Writing 32.0

February 6, 2016 By dhcbaldwin Leave a Comment

One of the wonderful aspects of writing a book as an indie publisher is what you experience afterward.

Indie publishing is not without its share of challenges (reviews, especially), but who would have thought this would happen thirty two years ago, when Bumbling Bea’s plot came floating through my brain?

I had many days of worry about this idea. I thought I was probably the only person who thought her idea was a little cockamamie. I fretted it wasn’t interesting and kids wouldn’t want to read it. It’s been the complete opposite.

I’m very happy I was wrong.

Recently, a question was raised in a Facebook group of indie authors Yesterday, the Writing Fantasy students were given a copy of Bumbling Bea to read prior to my book talk with them. So wonderful to see kids walking down the hall carrying her. Ironically, I even had to ask one girl to put it away in my own class. Crazy!

To see my book in a student’s arms or distracting them in class is a fabulous sign my worries were for naught.

It gets better! Now my play version of Bumbling Bea is in the protectful arms of a middle school drama teacher who plans to produce it in the 2018-2019 school year. What?

When this occurs, Bumbling Bea and I will take a completely different adventure. We’ll have first hand experience in what works in the dialogue and action as the students dramatize it. I couldn’t be any more excited about this.

If you are thinking of writing a book, I encourage you to do so. You know what? There are hundreds of people who share my experiences, too! You should join some Facebook indie author groups. They are tremendous help on this journey and free advice from people in the trenches is where it’s at.

Contact me at dhcbaldwin@gmail.com or BumblingBea.com

I’d love to hear from you.

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Critical Steps in Producing a Play or Musical: Set Design