The Diary of Anne Frank

Timeless Triumphs: 8 Unforgettable High School Plays

April 28, 2024 By dhcbaldwin Leave a Comment

It’s May and theater teachers are chatting about high school plays they are thinking of directing in the next school. Oh, gosh. I remember those times. Today let’s discuss timeless triumphs: 8 unforgettable high school plays.

As much as you consider and make predictions concerning your student body (how many males, how many females) for future productions, it’s still a crap shoot. For instance, students who have always been ardent theater lovers suddenly decide they want to play soccer in the fall and track in the spring. Sometimes it is difficult to keep a balanced perspective concerning our students’ choices. It is my opinion that a teacher must remind themself that primarily our job is to introduce theater to students who may not have ever considered it before. Hopefully those theater loving students will return to participate in the near future. Looking for the Stella Adler Acting Unit? Go here.

Timeless Triumphs: 8 Unforgettable High School Plays

Every high school drama department seeks that perfect play: the one that captivates audiences, challenges actors, and leaves a lasting impression long after the final curtain call. In the realm of high school theater, certain plays have stood the test of time, earning their place as perennial favorites. Let’s explore eight such masterpieces that continue to enchant audiences and inspire young actors around the world.

1. The Crucible by Arthur Miller:

Drama
Two hours
10 M, 10 F (plus extras)

Set during the Salem witch trials, The Crucible explores themes of hysteria, suspicion, and the consequences of unchecked power. This play tells the story of a village that becomes embroiled in a witch hunt. The people of Salem live in a constant state of fear as more and more people are accused of witchcraft. It is my belief that The Crucible is a perfect high school play, primarily because it offers many students an opportunity to participate. High school productions of Miller’s masterpiece often resonate deeply with audiences, sparking discussions about morality, justice, and the dangers of groupthink.

2. A Midsummer Night’s Dream by William Shakespeare:

Comedy
Two hours
20 characters, equally male and female

Credit: Aquinas Academy of Pittsburgh

Timeless Triumphs: 8 Unforgettable High School Plays

3. Our Town by Thornton Wilder:

Drama
Full-Length Play
7w, 17m

This Pulitzer Prize-winning play offers a poignant exploration of small-town life and the passage of time. Narrated by a stage manager, the production is performed with minimal props and sets. However, don’t be swayed by its simplicity. The play depicts the simple daily lives of the Webb and Gibbs families as their children fall in love, marry. The most poignant moment is eventually – in one of the most famous scenes in American theatre – death.

Thornton Wilder’s final word on how he wanted his play performed is an invaluable addition to the American stage and to the libraries of theatre lovers internationally. With its minimalist staging and universal themes, Our Town provides high school students with a profound theatrical experience that resonates with audiences of all ages.

How about a comedy?

4. The Importance of Being Earnest by Oscar Wilde:

Full-length Play
Comedy
5m., 4w. (1 extra.)

Wilde’s razor-sharp wit and biting satire take center stage in this delightful comedy of manners. Set in England during the late 19th century, the play follows the lives of two young men, Jack Worthing and Algernon Moncrieff, who adopt fictional identities to escape social obligations. Jack invents a brother named Ernest, while Algernon creates an invalid friend named Bunbury.

Not surprisingly, high school productions of The Importance of Being Earnest allow students to revel in the absurdities of Victorian society while honing their comedic timing and delivery. Note: This is a costume heavy show, but I still recommend it to directors because it’s worth the extra money to costume the students appropriately.

Dramatic Play, Anyone?

5. Inherit the Wind by Jerome Lawrence and Robert E. Lee:

Drama
Two Hours
21 men, 6 women, 2 boys, 1 girl, extras Many of the parts can be doubled

Inspired by the Scopes Monkey Trial, Inherit the Wind is a powerful courtroom drama that explores the clash between science and religion, freedom of thought, and the pursuit of truth. This story centers around a Tennessee teacher was tried for teaching the theory of evolution. As you might expect, two persuasive attorneys argue the case in an effort to determine the balance of church and state. High school productions of this play encourage critical thinking and foster discussions about education, censorship, and intellectual freedom.

6. The Giver adapted by Eric Coble from the novel by Lois Lowry:

Drama
4m., 4w., extras as desired or 4m., 2w. with doubling, extras as desired.
90 minutes

Based on Lois Lowry’s dystopian novel, The Giver offers a thought-provoking exploration of a society that suppresses individuality and emotion in pursuit of stability. To begin with, the story follows Jonas, a boy living in a community based on Sameness. During the Ceremony of Twelve, he is selected as the community’s new Receiver of Memory. The old Receiver, who Jonas calls The Giver, transmits generational memories to the young boy by placing his hands on Jonas’s bare back.

High school productions of The Giver allow students to delve into themes of identity, freedom, and the consequences of conformity, sparking important conversations about societal norms and individuality. I directed The Giver for a the Fine Arts Guild of the Rockies community theater in Colorado. It was sensational having a mixed age cast, but high school students can excel with it as well. For more information about The Giver, check out: The Reasons I Love The Giver Play

Historical Plays Worth Producing

7. The Diary of Anne Frank by Frances Goodrich and Albert Hackett:

Drama
Full Length
5 men, 5 women (3 extras)

Based on the real-life diary of Anne Frank, this powerful play chronicles the experiences of a Jewish family hiding from the Nazis during World War II. High school productions of The Diary of Anne Frank offer students the opportunity to explore themes of resilience, hope, and the human spirit in the face of adversity. I directed The Diary of Anne Frank with a community theater. It was an unforgettable experience for everyone concerned. However, one challenge for us was that the stage was the shape of an octagon. Looking for more information about this high school play? Check out: The Most Important Play I’ve Directed in My 38 Year Career

8. The Miracle Worker by William Gibson:

Drama
Two hours
7 M, 7F (with extras)

Inspired by the true story of Helen Keller and her teacher Anne Sullivan, “The Miracle Worker” is a compelling exploration of perseverance, communication, and the triumph of the human spirit over adversity. William Gibson’s drama chronicles the relationship between the real-life Helen Keller, a young girl from Alabama who was blind and deaf, and her teacher, the Irish, headstrong Annie Sullivan from Boston. It’s sensational theater.

Without a doubt, high school plays such as The Miracle Worker provide students with the opportunity to portray iconic historical figures while delving into themes of empathy, determination, and the transformative power of education.

Why do I select older plays to direct?

When you are a purist as I am concerning high school plays, you stick close to tried and true material. That doesn’t mean I haven’t done my share of more modern plays. I’ve directed a few. However, I think it’s important that our students broaden their knowledge base and ultimately, their resume by participating in the classics. You simply can’t go wrong with them.

In the world of high school theater, these eight high school plays stand out as enduring classics or at the very least of the classic nature.. They continue to captivate audiences and inspire young actors. From thought-provoking dramas to poignant historical narratives, each play offers students the opportunity to delve into complex characters.

These Plays are Winners for High School

As I stated previously, by exploring universal themes students can learn what it takes to create unforgettable theatrical experiences. In short, these high school plays demand it of them. As high school drama departments continue to stage these masterpieces, they ensure that the magic of theater lives on for generations to come.

Do you have a high school play which you would add to this list? I’d love to know about it. Contact me at DhcBaldwin@gmail.com.

Directing students in Aladdin, Jr.

Eight Benefits for Students When Reading Plays

August 30, 2023 By dhcbaldwin Leave a Comment

Eight Benefits for Students When Reading Plays

As a child, I loved to read. However, I had one bad habit– reading the end of the book far before I’d read the rest of the book. My mother called it shameful at the time. I admit, I still imbibe in this activity from time to time. Not with plays, however. I’m proud to say that never have I ever read the end of the play ahead of time. Never. Today I want to talk about the eight benefits for students when reading plays.

As educators, we constantly seek fresh and unique ways to engage our students and foster a genuine love for learning. While traditional reading materials hold their place, have you ever considered the profound impact of introducing plays into your curriculum? Beyond the spotlight and stage, the world of plays offers a wealth of opportunities for students to explore, learn, and grow. In this post, let’s delve into why incorporating plays into your teaching toolkit can be a game-changer.

#1 Spark Empathy and Understanding by Reading Plays

Perhaps one of the most important reasons to read plays is the swift speed a playwright‘s uses to engage the audience right from the first word. Consequently, the play immediately piques our interest. Let’s admit something here. Our students want everything fast, because the world has become so quick moving thanks to technology. No one wants to be patient or wait around for anything. Everyone, especially our students, want a quick fix.

Unlike reading novels, the old adage that “you should read the number of pages equal to your age before you decide if you enjoy the story or not” doesn’t hold true here. Plays must get to the point early on in the production or else the audience will make a quick exit for the theater door. Consequently, most plays are under 150 pages. They hold your attention to the end, because playwrights want the audience to be enthralled through curtain call. Check out my post about The Most Important Play I’ve Directed in My 38 Year Career.

Usually, narration is kept to a minimum. In most plays, if deftly written, the characters can narrate the story through their lines. Every character in a play has a unique story to tell, emotions to share, and challenges to overcome. When students step into the shoes of these characters through reading, they cultivate empathy and gain insights into different perspectives. This newfound empathy transcends the classroom, nurturing a more compassionate and understanding generation. When someone demonstrates how a person feels at a particular moment in a story, they visualize the moment playing out right in front of them. That is powerful.

#2 Nurturing Critical Thinkers

Plays are intricate puzzles waiting to be unraveled. The layers of dialogue, symbolism, and character development offer an intellectual banquet for students. Even our youngest students can read a play and pick out the elements of literature--setting, conflict, plot and character, etc. Encourage them to dissect the text, identify underlying themes, and analyze character motivations. This process hones critical thinking skills that extend far beyond the realm of literature.

Language Proficiency Beyond the Ordinary

Plays are a linguistic treasure trove, showcasing diverse forms of language from various eras and cultures. By exposing students to the rich tapestry of language found in plays, you’re fostering students to build a versatile vocabulary. Through the acquisition of new words and expressions students’ hone their communication skills which better equips them to communicate their thoughts and feelings.

#3 Plays and Time Travel through Text

History books offer facts; plays transport students back in time. Through the lens of playwrights’ words, students can experience different time periods, cultures, and societal norms. This immersive experience makes history come alive, encouraging students to appreciate the nuances of different eras. Plays have been written about many historical moments in history, science, art, music and so forth. After 911, there were several plays written from the viewpoint of the firemen who survived the tragedy. One is The Guys. The Guys tells a story about a New York City journalist who helps a local fire captain write memorial speeches for his men who died in the World Trade Center crisis bowed starring Sigourney Weaver and Bill Murray in January 2002.

#4 Reading Plays Provokes Dynamic Class Discussions

The themes explored in plays are the stuff of thought-provoking conversations. From social issues to questions about morality, plays provide a perfect platform for discussing complex topics. By reading a play, students can articulate their opinions, learn from diverse viewpoints, and develop the art of respectful discourse. For example, The Laramie Project play is set in and around Laramie, Wyoming, in the aftermath of the murder of twenty-one -year-old Matthew Shepard. The Laramie Project is known for its powerful portrayal of the complexities of a community’s response to a hate crime, and it has been widely performed and studied to shed light on issues related to LGBTQ+ rights, hate crimes, and social justice.

#5 Play Reading Bridges Generations

Incorporating both classic and contemporary plays bridges the literary gap between generations. Students connect with the enduring themes of the past while appreciating the evolving narratives of the present. She Stoops to Conquer was written in 1773 and is just as relevant today as when it was first produced. The overriding theme of She Stoops to Conquer is how reality is often distorted by social status. Sound familiar?

A recent column in Esquire magazine states, “Sometimes the Truly Rich lose their bearings about how money works for other people. While they have that joyful privilege of viewing money through the filter of what it can do for them, other people see cash as that wad of paper that can get them through the next two weeks.” In She Stoops To Conquer, a rigid English social system effectively encourages people to be someone other than who they really are.

She Stoops to Conquer is a comedy of manners that explores social class, one’s place in society, both socially and economically, and its importance in 18th century England. The characters and their conceptions of these absurd societal rules lead them on a humorous journey in their relationships, by exposing our students to plays which are nearly 250 years old, students learn to appreciate the continuity of human thought and storytelling across time.

#6 Students Skills for Life’s Journey

When students engage with plays, they acquire skills that are essential beyond graduation. The ability to analyze, interpret, and empathize with different perspectives equips them to thrive in diverse environments. They become lifelong learners who approach challenges with a multidimensional outlook.

#7 Cultivating Creativity

The act of reading plays demands visualization – imagining characters, scenes, and emotions. A good example of this is the play War Horse. The horse puppet that represents Joey is operated by three puppeteers each night: one at the head, one at the heart, and one at the hind. But this is no ordinary panto horse: when at full flight, the 30-kilogram, life-sized contraption is an imposing force, galloping across the stage. The scenes of Joey fighting in war are magnificent! This visualization of a living breathing horse demands of us to use our creativity thereby encouraging students to actively participate in crafting the narrative in their minds. They become co-creators of the story, enriching their imaginative capacities. If you are looking for a lesson concerning The War Horse play, check out: War Horse Resource

#8 Transformative Journey Through Reading Plays

I cannot stress enough that incorporating plays into your curriculum is not just about reading; it’s about opening doors to creativity, empathy, critical thinking, and cultural awareness. By introducing students to the world of plays, you’re guiding them on a transformative journey that goes beyond textbooks. You’re instilling a lifelong appreciation for literature, broadening their horizons, and empowering them to embrace the complexities of the world with confidence. I bet you’ll discover more of your students will become involved in their school play productions after they’ve read a few. They are a perfect bridge. Have your students read any radio theater plays? Check out these blog posts for reasons to read them. Creative Dramatics Lesson Plans: Nine Reasons to Teach Radio Theater or Top Reasons Teachers Succeed When Teaching With Radio Theater

Let’s embrace the world of plays and witness the magic unfold within our classrooms. Your students’ journey into the realm of drama might just be the most enlightening adventure they embark upon.

What plays have your students read? I’d love to hear from you about them. Let’s chat! Contact me at DhcBaldwin@gmail.com

The Diary of Anne Frank: The Most Important Play I’ve Directed

January 26, 2017 By dhcbaldwin 4 Comments

The Diary of Anne Frank: The Most Important Play I’ve Directed

Here is the story of the most important play I’ve directed in 38 years.

Twenty-nine years ago, I had the rare privilege to perform Mrs. Frank in The Diary of Anne Frank. I will never forget the experience. This is one of those shows that seldom comes along but when it does, people flock to participate in it.

Luckily, I had the opportunity to serve as director to the production twenty-two years later. The Diary of Anne Frank is the most important production I’ve directed in my 38 years of my career.

The Diary of Anne Frank: The Most Important Play I’ve Directed

The most important reason to produce The Diary of Anne Frank is because Anne Frank was a real person who lived and died during a terrible time in our history. Her diary is real and validates the facts of this injustice. You’ll want to read to the end of this post. I’ll explain my affinity for it, too.

I hear that Florida banned the graphic novel of The Diary of Anne Frank several years ago–Illustrated Anne Frank book removed by Florida school | AP News Of course this saddens me, but it also worries me very much. Especially in light of the climate of the United States at present–we simply can not forget this story.

We must tell this story over and over again.

A Well-Balanced Cast: Bringing Anne Frank’s Story to Life

The cast totals ten five women and five men, three of which are teen actors.
In my opinion, there is nothing better than a cast varying in age and gender. Of course a young female is needed to portray Anne and another for her sister, Margot. There is a young man, Peter Van Daam, too.
The women’s roles are excellent, especially Mrs. Frank and Mrs. VanDaam. Because they are everything motherly, it is fairly easy to cast them with amateurs. Mr. VanDaam is a nice role with much complexity of which to play. Other than Anne, the most important character is Mr. Frank– a fatherly, husbandly, respectful man who serves as the leader of the families.
The play appeals to all ages. Young teens relate to Anne’s need for privacy, her crush on Peter and continuous disagreements with her mother. I think it is important for our youth to see that even though over seventy years have passed since Anne’s demise in 1945, her wants and needs were much the same as any young girl of today. Even the dialogue sounds like something you might hear emanating from a present day home.

Creating an Intimate Atmosphere for The Diary of Anne Frank
The set consists of one place—the attic, although within it one needs a kitchen area (for preparing real food), an eating area, an attic room and several small bedrooms. The costumes are simple 1940’s style. The props are easy to collect. You do need a lot of beds (6) but that can be readily found. We used cots for my production.
I believe the play is best served in an intimate setting then audience members have the best view to observe the story as it unfolds. The closer the audience is to the actors the better. The first time I was involved in the play a small community theatre produced it.
The audience was no more than six feet from us. However, even as I state this I’m reminded of my directing it on a high school stage in a auditorium of four hundred seats. It didn’t matter. Every moment is riveting and keeps the audience’s attention no matter the size of the venue.

Balancing Humor, Realism, and Emotional Depth in The Diary of Anne Frank
Surprisingly, there are humorous moments in the play. I don’t think people expect them. Most center on Anne and Peter— flirting with each other while trying to grow up as everyone is watching and their first kiss. It is sublime young love, I must say.
The families’ dynamics while sharing the tiny apartment space are exactly those of some unfortunate people living in present day circumstances–sharing one bathroom, multiple people sharing a bedroom, never having enough food to eat and always in despair. These challenges resonate with audiences.Enhancing Authenticity and Emotional Impact in The Diary of Anne Frank
I’d suggest a director invite someone of the Jewish faith to speak with the cast. This person can answer questions, give insight into the plight of the Jews, explain the Jewish faith and serve as advisor when needed.
There is a sound effects CD you can purchase to use for the show. It is conveniently listed with the play on the Dramatists Plays website. This takes care of the sounds that can be difficult to find on your own—the Gestapo marching in the streets, the cathedral bells, etc.
It even includes the sound of the Gestapo banging on the annex’s door. I didn’t utilize it because I thought it was more effective to have a live sound effect at that point in the performance. It gives the audience an opportunity to feel the jolt of surprise and fear the moment the families were taken. Nothing is more frightening and shocking.

The Historical Significance of the Play

Let’s be honest and discuss the most important reason for producing this powerful play.

The Diary of Anne Frank play demonstrates the social injustice and religious persecution of Jewish people during Hitler’s reign.

It’s one thing to study the history of WWII. One can view a video or read a book about it, but nothing compares to observing real people telling the story right in front of you.

An important note: Several years ago Mr. Frank’s monologue near the end of the play was edited and updated. It contains gut wrenching, eye witness accounts of Anne’s last days while living alone in the concentration camp of Bergen-Belzen.

As our World War II veterans pass away and we have fewer and fewer left to share their experiences during the war, eyewitness accounts are tremendously important.

I’d like to state that I’m certain there is no family in world today who is living in similar circumstances to Anne Frank. I’m sad to say I’m certain someone is living this life all over again. Merely look at Syria or Ukraine.

My Personal Connection to the Play

My father was a battalion aid surgeon during WWII. Like many veterans, he never spoke of the war. I do know that he snuck behind enemy lines to deliver a French woman’s baby while under the watchful eye of a sniper. I know he was a prisoner for a few days.

I know he contracted pneumonia from hiking through wet terrain and damaged his ear drum enough to lose the hearing in his ear. I know he was present when they freed Dachau. He felt the warm walls of the crematorium. He saw Jewish prisoners, nearly naked, emaciated, dazed and confused wander out of the camp. These were eye witness accounts, true facts.

That’s all I know.

Maybe in some small way, I am not only remembering the Jewish people but honoring my father’s life by directing this play.

I can help us all to remember and not allow us to repeat ourselves.

Do you want to make a mark on the world? Do you think all people matter? Do you have the opportunity to select a play for a theater’s season? Please consider The Diary of Anne Frank.

If you have the rare opportunity to be involved on this play, shoot me an email, too. If I can, I would be honored to attend.

Contact me at dhcbaldwin@gmail.com or check out my website at DeborahBaldwin.net

Find the play here at DramatistsPlays.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

Timeless Triumphs: 8 Unforgettable High School Plays

Timeless Triumphs: 8 Unforgettable High School Plays