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So You Are Directing a Musical…Now What?

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So You Are Directing a Musical…Now What?

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

Again, I forget not everyone knows the process.

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

 

What are the steps to producing a musical with youth?

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

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

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

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

Jungle Book, Kids (credit Owen Lucas Photography)

So You Are Directing a Musical…Now What?

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

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

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

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

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

Musical Theater Rehearsal Schedule Example

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

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

November 2 to 4–Sing songs

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

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

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

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

Musical Theater Rehearsal Schedule Example

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

Nov. 8–Choreograph Song

Nov. 9–Run Song #1 and Song #2

Nov. 10–Choreograph Song #3

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

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

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

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

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

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

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

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

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

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

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

Musical Theater Rehearsal Schedule Example

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

Nov. 25–Run Songs with Choreography

Nov. 26–Run scenes only

Nov. 27–Run thru

Nov. 30–Run thru

Dec. 1–Run thru with props

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

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

Dec. 4–Dress rehearsal

Dec. 5–Perform!

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

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

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

So You Are Directing a Musical…Now What?

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

Usually, my rehearsal calendar follows:

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

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

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

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

Musical Theater Rehearsal Schedule Example

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

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

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

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

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

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

or Creative Dramatics Lessons for Grades 2 to 5

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

woman behind DramaMommaSpeaks

Deb

 

 

 

 

 

The Pros and Cons of Producing Disney’s Alice in Wonderland, Jr.

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The Pros and Cons of Producing Disney’s Alice in Wonderland, Jr.

MTI junior Alice in Wonderland

Life has a way of making its mark on you.  Don’t you agree?

When I was entering college,  I really had no idea what career I wanted to pursue.  Loving the arts as I did was a challenge, because I came from a family of business owners and teachers and studying something like the arts was considered frivolous and a waste of time.  (I think that’s what they thought. I honestly don’t know.)

How would my arts interest sit with them?  I know that doesn’t sound like an important thing to consider when you are starting out in your life as an adult, but I did care that my family approved of my future career pursuits.

Ironically, as things would have it, I ended up getting my teaching certification in English and later in Speech and Theater.  I loved to perform. However, when I graduated from college in 1977 New York City was not somewhere I wanted to move and pound the pavements for a possible job.  I was more practical than that.  I admire anyone who makes it on Broadway.  That has to be a tough road to go.

I had high hopes of ending up in a large high school.  At the time, jobs teaching theater at the high school level were scarce. I taught English for three years then stayed home with our daughters for eleven. Instead of teaching theater in a high school, I developed and administrated several youth theater companies for community theaters. Once our daughters were in elementary school and I no longer needed to stay home with them, I went back to teaching.

For many years, I taught at the same time as I ran the youth programs (my last teaching position included teaching students in second through twelfth) with all of these other responsibilities. It was a crazy busy time, and grueling but it was necessary and I enjoyed it.

Thirty-eight plus years later, I see my talents and knowledge were best used with students of every grade level. Because I taught many classes over the years for several different school systems, I discovered where the holes were in the curriculum and took note of them.

The Pros and Cons of Producing Disney’s Alice in Wonderland, Jr.

Musical Theater Academy presentation of Alice In Wonderland - YouTube

Part of my mission is to provide guidance and advice selecting a musical for a school or youth theater program.  I’ve directed over 250 plays and musicals through the years.

I’ve recommended Willy Wonka, Jr. in another blog post.  You can read about it HERE.

Another junior musical I recommend is Disney’s Alice in Wonderland.

A quick synopsis—

In the most perfect day of summer, children play in a park, Alice dreams of a world of her own while her sister Mathilda lectures her on the books she is reading until Alice falls asleep. She wakes and finds a White Rabbit talking about how late he is. Alice follows the White Rabbit down a rabbit hole where strange creatures offer her advice. Finally, at the end of her fall, Alice encounters a talking doorknob which tells her that a place called “Wonderland” is on the other side. If you are familiar with the Disney movie version, you’ll love this script!   It follows the movie version completely.

Characters–

One of the most important reasons I recommend this musical to teachers and youth theater directors is the number of           roles available. Whoever adapted this script, did a very clever thing–wrote it so there are three Alices (one of average             size, one taller and another even larger)  That’s great from the stand point of giving more students opportunities to                 perform. Some roles can be gender fluid such as the White Rabbit and the Catepillar.

I’ve even switched the genders of the Queen and King of Hearts and cast a male as the Queen and a female as the King.  Audiences LOVED it!

Here is Marshall portraying the Queen of Hearts!

Costumes, Sets and Props–One of the most worrisome parts of directing in amateur theater is the technical aspects.  I’ve had the incredible luck to find a school where I could rent the lead characters’ costumes.  However, you can produce this show with a limited budget, too.  If you can only afford tee shirts, then use different colored shirts for each character.  For example, Alice could be in bright blue, King and Queen in red, her court in white, etc.

A set design can be as simple as perioktois painted with three different scenes to denote locations.  Or use a unit set and merely change a few set pieces for each scene.

Here’s a secret–an audience will believe anything you believe first.  Direct the show in your school cafetorium or library or outside on the playground. Now there’s a thought! Be creative and step out of the norm.  I have and it’s worth it!

The Pros and Cons of Producing Disney’s Alice in Wonderland, Jr.

Alice in Wonderland Jr • All About Theatre

Audience appeal–Lewis Carroll’s classic is still popular with children. Coupled with the availability of the Disney movie, it isn’t difficult to fill your theater with an enthusiastic audience. Whole families can attend without any worry about subject matter or language. The lines are quotable and well loved.  Some of the best lines are delivered by minor characters and let me tell you, a young person feels so special when the audience laughs at his few lines.

Music–Oh my gosh, it’s so clever!  It’s written in key signatures young voices can reach and sing strongly.  No trying to reach notes which are completely out of their range. Students pick it up quickly, plus Music Theater International provides rehearsal CDs for your students to use. Personally, I think the rehearsal cd is worth its weight in gold.  Students become very confident singing because they learn the music right along with the CD. If you’ve never used the MTI rehearsal CDs, you will not believe how much it helps the students.

If you are considering double casting, Alice in Wonderland works well double casted.  Check out Double Casting a Show? 

Having directed Alice in Wonderland, Jr. four times, I know it very well.  It never grows old.

 One complaint

Length–The show is a little long. The problem is the number of reprises.  There are simply too many of them, although I understand the reasons for including them–it gives more students opportunities to perform.   If you have students which can sustain their energy for ninety minutes, then great!  It’s my experience that the length drains their energy.  I mean, they are only kids, you know?

DramaMommaSpeaks Broadway Musical Units and Lessons

You may be unaware of it, but now that I’m retired I create theater ed. units and lessons for the classroom.  Some of my most popular are my Broadway musical units.

Here are a few:

Each unit is different, although I include several of the same details in every unit:

  • letter to the teacher explaining the unit
  • teacher’s script to begin the lesson
  • a warm up
  • plot
  • synopsis
  • list of songs
  • creative staff biographies
  • Tony awards the production has won
  • Trivia
  • Student’s note and Teacher’s Key (yay!)
  • Lastly, an enrichment activity page which is customized for each musical.

Irregardless of the musical you select for your students, just know that if you consider the students first you will succeed. It’s really that simple.

What is your favorite musical to direct with your students?  I’d love to hear about it.  Contact me at DhcBaldwin@gmail.com or DeborahBaldwin.net

woman behind DramaMommaSpeaks

 

Ten Important Elements to Consider When Directing a Youth Theater Production

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Ten Important Elements to Consider When Directing a Youth Theater Production

When becoming a drama teacher, I had high hopes of ending up in a large high school.  But life didn’t work that way.Instead, I developed and administrated several youth theater companies for community theaters. Once our daughters were in elementary school and I no longer needed to stay home with them, I went back to teaching. Today, I’m going to discuss Ten Important Elements to Consider When Directing a Youth Theater Production.

For many years, I taught at the same time as I ran the youth programs (my last teaching position included teaching students in second through twelfth) with all of these other responsibilities. It was a crazy busy time, but It was necessary and I enjoyed it.

Thirty-eight plus years later, I can see my talents and knowledge were best used with students of every grade level. Surprisingly, I enjoyed teaching middle school students the most, but I liked directing the high school ones.  Frankly, it was just easier.

Middle School Students Versus High School Students

Although as I write this, that isn’t really factual either.  Let me put it this way–middle school students are fresh, accepting and diligent.  High school students are quick, discerning and trusting if they think you know your stuff.

I do.

From time to time, teachers email me asking for advice on selecting a musical for their school or youth theater program.  I’ve directed over 250 plays and musicals through the years. I’m glad I can help others.

Do you need some guidance? Here are my thoughts on the subject.

Ten Important Elements to Consider When Directing a Youth Theater Production

  1. Talent pool--Of course, we’d all like our talent pool to be large.  Middle school students voices begin to change (especially boys) and if you cast the show in September it’s likely by the time you open in November your male lead’s voice may have dropped.  That’s okay.  Teach him how to talk sing his lyrics and he’ll be fine.
  2. Number of Students–More important than the talent pool is the number of students which are interested and the number of roles available if the show you’ve selected.  Can you cast everyone?  Do you want to involved everyone?  I wouldn’t recommend using a particular show as a recruitment tool.  Start small if your department is new at your school and over tie you can produce large cast shows.  There’s nothing wrong with tempting interested students who have never acted to have to wait until the second production.  It makes the experience all the more special.
  3. Funds for producing–Can your budget afford the production you selected?  Musicals are notoriously expensive, but they usually bring in the larger audiences.
  4. Costumes and Set Requirements–What about the needs of the costumes and the set?  Are the costumes something you can rent or build?  Do you have volunteers to sew them?  Do characters change costumes many times?  Does the set have anything that is crucial to it?  Can you design a set which is inexpensive, but gets across the setting?  Or do you have a technical theater director and students to build it?

Here’s one show I think is great for middle school–Willy Wonka, Jr.

Updated Version of Roald Dahl's Willy Wonka JR. Now Available! | Music Theatre International

Ten Important Elements to Consider When Directing a Youth Theater Production

  1. A quick synopsis—Roald Dahl’s Willy Wonka JR. follows enigmatic candy manufacturer Willy Wonka as he stages a contest by hiding golden tickets in five of his scrumptious candy bars. Whomever comes up with these tickets will win a free tour of the Wonka factory, as well as a lifetime supply of candy. Four of the five winning children are insufferable brats, but the fifth is a likeable young lad named Charlie Bucket, who takes the tour in the company of his equally amiable grandfather. The children must learn to follow Mr. Wonka’s rules in the factory — or suffer the consequences.
  2. Characters–I love the characters in Willy Wonka, Jr. Plus, students enjoy them, too!  What’s easiest for students to portray?  Characters near their age.  There’s Verua Salt, Charlie Bucket, August Gloop, Violet Beauregarde and Mike Teevee.  Plus, there are the roles of the parents, the Oompa Loompas,Charlie’s grandparents and of course Willy Wonka.  (Several times, I’ve cast Willy Wonka with a female.)
  3. Costumes, Sets and Props--I’ve been lucky enough to have parent volunteers who create the stage properties for me.  Some of these props can be collected easily, but a few need more attention–the chocolate bars, the fizzing lifting drink, etc.  But a warning if you are new to producing a musical:  they notoriously have many stage properties.
  4. Audience appeal–Roald Dahl’s book of Charlie and the Chocolate Factory or which the musical was adapted is quite popular with children to read and the title has word recognition.  Whole families can attend without any worry about subject matter or language. Everyone can relate to the story–from the children contestants to the parents.  Some of the best lines are Willy Wonka’s asides to the audience.  They come across as private jokes and that’s such fun.
  5. Music–Oh my gosh, it’s so clever!  It’s written in key signatures young voices can reach and sing strongly.  No trying to reach notes which are completely out of their range. Students pick it up quickly, plus Music Theater International provides rehearsal CDs for your students to use. Personally, I think the rehearsal cd is worth its weight in gold.  Students become very confident singing because they learn the music right along with the CD. If you’ve never used the MTI rehearsal cds, you will not believe how much it helps the students.

If you are considering double casting, check out Double Casting a Show? 

Having directed Willy Wonka, Jr. four times, I know it very well.  It never grows old.

 I have one complaint

  1. Length–The show is a little long (In the past, I’ve cut reprises near the end. I even gave one of the Oompa Loompa reprises to the contestants in the Willy Wonka contest.) If you have students which can sustain their energy for ninety minutes, then great!  It’s my experience that the length drains their energy.  I mean, they are only kids, you know?

If you would like more information about directing a production, check out Critical Steps in Selecting a Play or Musical: Budget & Royalties or Critical Steps in Producing a Play or Musical: Costumes 

Create Your Own Musical Lesson

Are you looking for a lesson to engage your students which teaches about writing a musical? Here is one.

Create Your Own Musical

Teach your students the process of creating a musical of their own! This lesson gives your students an opportunity to work cooperatively and become playwrights and lyricists by adapting a portion of a children’s book. It is most successful with students in sixth through eighth grade, especially students new to theater class or in a Language Arts class. In addition, a teacher could use this lesson with students who are distance learning #DistanceLearningTPT

Please note: To teach this lesson, you will need to check your school library or purchase several children’s books. I used a Berenstain Bears book for the example.

This product includes:

  • a letter to the teacher
  • warm up—MY version of this popular exercise
  • teacher’s script–what I say and how I say it!
  • procedure for the entire lesson
  • outline assignment
  • example of outline
  • detailed assignment sheet for students
  • storyboard template
  • rubric–FULLY EDITABLE
  • links
  • sources

I hope this helps you and gives you a nice start to selecting a musical to produce with students.  If you need any more help, please feel free to contact me at DhcBaldwin@gmail.com or DeborahBaldwin.net

Want a FREE guide and lesson plan to help you teach creative dramatics in your classroom?  Go to https://dramamommaspeaks.respond.ontraport.net/

woman behind DramaMommaSpeaks

 

 

 

 

 

MTI Broadway Senior Musicals: A Baby Boomer’s Dream Come True

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MTI Broadway Senior Musicals:  A Baby Boomer’s Dream Come True

Once I lamented that I was becoming invisible. A well meaning family member joked, “Well, you know you’re not a spring chicken anymore.” What, you say?

However, there is a new place that seniors can be seen! Let’s discuss today’s blog post, MTI Broadway Senior Musicals:  A Baby Boomer’s Dream Come True. Look around you. We have a lot of senior adults aptly named The Baby Boomers.

They aren’t the stereotypical kind, either.  One of my  friends swims great distances. Still another performs in her own rhythm and blues band all over the country. Additionally, one senior and her husband ride motorcycles every weekend. One of my very brave friends, a remarkable woman, travels all over the world by. her. self.  She’s  seventy-years-old.

man and woman holding each other's hands beside Christmas tree

I feel like a slug in comparison. These seniors are vibrant, energetic, contributing members of their communities. My husband, a senior himself, plays in a senior community band.  The conductor was 92 years old!  Isn’t that amazing?

A Paradigm Shift-MTI Broadway Senior Musicals

There is a wonderful paradigm shift occurring right now and it’s all positive (we can use some positive vibes, right?) 

MTI Shows are musicals licensed by Music Theatre International, one of the world’s leading licensing agencies for Broadway and musical theatre productions. MTI represents over 500 titles—including Into the Woods, Matilda, and Shrek The Musical—and offers versions tailored for schools, youth groups, and senior performers.

Their collections include Broadway Junior (for kids), School Editions (for teens), and TYA shows (performed by adults for young audiences), making high-quality theater accessible to all ages and experience levels. And now they are offering senior theater versions! 

Just think of it:  You are living in a care center and bored out of your mind (that would be me…). However, it is announced the center is going to produce a senior musical. What does that mean exactly? 

MTI Broadway Senior Musicals: A Baby Boomer's Dream Come True

 A Baby Boomer’s Dream Come True Broadway for Seniors

MTI Broadway Senior® shows are specially adapted musicals designed for older adult performers, typically aged 55 and up. These productions are 60-minute versions of beloved Broadway musicals, carefully crafted to suit the physical, vocal, and storytelling needs of senior casts while preserving the heart and humor of the originals.

Key Features:

  • Shorter runtime (around one hour)

  • Simplified staging and flexible casting

  • Lower vocal and physical demands

  • Full performance and rehearsal resources provided (scripts, music, director guides)

Popular Titles Available in the MTI Broadway Senior® Collection:

  • Guys and Dolls SR.

  • Into the Woods SR.

  • My Fair Lady SR.

  • Fiddler on the Roof SR.

 

To be frank, if there is anyone who will be successful at this endeavor, it is MTI.  In another blog post, I rave about their junior and kids musicals.  Check it out here: MTI Junior Musicals– A Dream Come True!

To date, more than 200,000 productions have been produced of their junior musical shows reaching more than 5 million children.

MTI Broadway Senior Musicals: A Baby Boomer's Dream Come True
Artswork.org

MTI Senior Musicals:  A Baby Boomer’s Dream Come True

Research shows us our seniors with dementia respond to music, so it isn’t much of a stretch to think being part of a musical wouldn’t have the same success. 

Among several other senior citizen communities, the program was road tested with the Juniper Village near State College, Pennsylvania.  The university students of assisted with rehearsals and performances.  Cast members received one on one attention from the students which alleviated the anxiety of performing.  How wonderful!

MTI Broadway Senior Musicals: A Baby Boomer's Dream Come True

I thought this quote was interesting, from Playbill.com,

“But what Broadway Senior has really done is give these seniors renewed purpose, engaging them and their curiosity, encouraging positive risk-taking, and validation.”

So often in senior living we focus on what somebody used to do–what they did professionally, what their hobbies were, or who they were in their family.  This is something totally new that people are discovering and being celebrated for now, says Katie Kensinger, Senior Director of Communications at Juniper. We had a 90-year-old cast member in our production of Guys and Dolls who began to sob after our first performance.  He said, ‘I’m overwhelmed that the audience would respond to me, that they really loved it.  I never knew what it was like to be an actor.”

What a tremendous experience for this gentleman!

StandardFreeholder.com

When the Curtain Rises, So Does the Spirit

The after effects of involvement in a theatrical production can be stunning.  Out of them spring new friendships, relationships (I met my husband while performing in a community theater production,) new avenues of expression and creativity

The Executive Director of Juniper Village said, “The focus of Juniper is to help people to live life vibrantly in their third act. Broadway Senior gives our residents a sense of pride and accomplishment, and they have renewed self-esteem, and a sense of purpose. They’re also building new friendships and are more engaged. One of our residents said, ‘I have something to talk about at the dinner table now.’”

The program has been able to reach people on a deeper level of mind, body, and spirit. For seniors, particularly those struggling with memory issues and dementia, musical theatre demonstrates therapeutic value.

“It’s definitely accessible for people with dementia,” Kensinger says. “Especially the music. Even if they can’t follow along with the script and read lines, many of these songs are ingrained in their memory. There’s an emotional connection with music that patients will respond to long after they’ve stopped responding to anything else.

MTI Broadway Senior Musicals: A Baby Boomer's Dream Come True

MTI Senior Musicals:  A Baby Boomer’s Dream Come True!

Several times in my career, I directed seniors.  One man in particular, age 83, is one of the finest actors I have ever known.  Michael was a retired professor of philosophy and discovered acting about fifteen years ago. To put it simply, he was truly remarkable. He took my directing notes very seriously, studied his script like a fiend and rarely dropped a line.  Unfortunately, was unable to participate in the play because her Alzheimer’s.  Even so, she would dutifully attend rehearsal every evening with her husband.  It was a tremendous experience for both of them and she was so very proud of him. To find out more about the Giver, check out my post: The Reasons I Love The Giver Play

 

The Transformative Power of Theater: Why Seniors Still Need the Stage

When researching this topic, I found a post on Scripps.com concerning senior theater,

“When we watch live theater, we empathize with the emotions and experiences the characters feel, even if we haven’t personally shared the same experiences. Live theater is an opportunity to access new emotions and experience new situations through the eyes of the characters in the show. We feel as if we are a part of the story as the performers tell it on stage.

Live theater is also a way for seniors to engage with these emotions and continue to evolve and participate in complex situations. Even if someone is limited in emotional and social interactions during their daily routine, an outing at the theater creates a new adventure during the show! The sense of engagement and interaction can contribute to an improved mood and a positive outlook overall.”

How Senior Citizens Can Benefit from Elders’ Theatre Workshops | by ...

Finding Purpose at Any Age: The Joy of Performing Beyond Expectations

Humans require a feeling of purpose and accomplishment.  I can see how these Senior Musicals will be just the ticket for some our seniors.

For now, I will cheer the participants. Someday, maybe I can portray Little Red Riding Hood when I am eighty- years old.  Who knows?  It could be a role written for me and I didn’t even know it.

What role would you enjoy playing which is completely out of your age range?  I’d love to hear about it.  Contact me at dhcbaldwin@gmail.com or DeborahBaldwin.net

MTI Senior Musicals: A Baby Boomer's Dream Come True

The Top Three Reasons Summer Youth Theater Camp is Awesome

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Summer is coming to an end.  Darn. It has been lots of fun, relaxing, invigorating and fulfilling.  My husband and I spent most of our summer away from home–our daughter was married, we took a trip to Glacier National Park and ran two drama camps in Mexico, Missouri.  Every one of these experience was great!

If you are looking for an outstanding drama camp for your son or daughter then Presser Performing Arts Center in Mexico, Missouri is the place for you!  The camp was created eight years ago by  Lois Brace, the Artistic Director of Presser.  I am the camp production director.

We offer two camps.  They are tuition based (several scholarships are available) and perform their productions for the public.  The number of campers each summer runs from thirty-five to fifty students.  Every student who enrolls in camp is very involved in the production (some students playing multiple roles).  We like to keep our kids busy, not waiting around backstage for their one scene.  In addition to the musicals, we teach drama games, acting exercises and what it means to be a cast member and young artist.

One week camp

First, we have a one week camp (which runs in June) for those students who are beginning theater students entering grades fourth through ninth. The camp runs each weekday from 9:00 am. to 4:00 p.m. In the one week camp, we present a Music Theater International musical, usually one of the kids versions.  These shows were specifically developed for this purpose–they introduce musicals to the students,  run around forty-five minutes in length, simple costumes, sets and props.

To date we have produced Kids versions of Annie, 101 Dalmations, Jungle Book and Aristocats.  Students are expected to audition (which includes singing a song and reading from the script), but generally all those who audition are accepted into the camp.  This camp is more processed based. We want the students to leave camp having learned some basic knowledge about theater, the process of presenting a musical, making new friends and fun!  Tuition is $175 which includes thirty-five hours of instruction, a cast tee shirt and cast party.

Two Week Camp

Secondly, we have a two week camp  (which runs late June and into early July) for those students with experience in theater entering grades fourth through college. As with the one week camp, it runs jfrom 9:00 a.m. to 4:00 p.m. each weekday with a Saturday morning dress rehearsal the day of the performance. We perform the show twice–once on Saturday evening and once on Sunday afternoon.  Again, we produce a MTI musical, but they are the junior musicals that are longer (around 90 minutes), more complicated singing (many songs in three part harmony), dancing, detailed costumes, sets and props.

Students in the two week camp are held to a much higher standard than the one week campers for obvious reasons.  It is not uncommon for our campers to have spent their school year prior to camp taking voice and dance lessons and to have been very involved in their school or community theater productions.  This camp is also audition based, but we are a bit more choosy in our casting.  Sometimes we accept students who enroll in both camps, but usually most students are involved in one camp or the other. Tuition is $300 which includes seventy hours of instruction, a cast tee shirt and cast party.

Technical Track


Both camps have a technical track class as well.  These students are under my husband’s tutelate.  Tim has designed sets, lights and sound for over thirty years.  His campers build and paint the production’s set, learn to and run the light and sound equipment and serve as the crew for the productions.  Only students entering grade six through college are accepted into the class.  For those students interested in theater but don’t want to perform, this is the class for you!  Tuition is $175 which includes the same amount of instruction, cast tee shirt, etc.

If you would like more information (you are from out of town and your child would need lodging, enrolling several siblings, etc.) about the Presser Performing Arts Camp, please see their website at presserpac.com.   Or you can just ask me through my blog.

We hope that you or your young theater lover will join us!

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

I’d love to hear from you.

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