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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

The Resonance of Stereophonic: A Tony Award Nominee

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The Resonance of Stereophonic: A Tony Award Nominee

Humans like to reminisce. Currently, the 1970s are popular. Did you know the 1970s fashion is a throw back in 2024? Clothes such as bell bottoms, flowy dresses.  In fact, even the furniture and housewares remind me of the 1970s.  How fortuitous for a new musical, Stereophonic, set in the 1970s to have opened on Broadway recently. Let’s discuss the resonance of Stereophonic: a Tony Award Nominee.

Stereophonic falls into the genre of a play with music.  Although they are considered musicals, they are different from most musicals.  However, they are just as important as others. First, let’s dive into what makes Stereophonic a standout production and why it has garnered such prestigious recognition.

The Resonance of Stereophonic: A Tony Award Nominee

This is my good friend and R and B player @kelleyhuntmusic, circa 1979.

I am part of the Baby Boomer echo generation. The term “Baby Boomer echo” refers to the demographic phenomenon that followed the post-World War II baby boom generation. Baby boomers are those born roughly between 1946 and 1964, a period characterized by a significant increase in birth rates. 

My generation saw many changes in our society which were reflected in the music of the times as well.  Groups such as Fleetwood Mac, Journey and America were extremely popular bands of the times. The 1970s saw hard rock get harder, soft rock get softer, and artists frustrated with standard musical forms tossing them aside and starting their own styles.  This phenomena is part of the mystique of a new play with music, Stereophonic.

The Resonance of Stereophonic, a Play with Music

Stereophonic stands out with its unique blend of music, storytelling, and innovation. Set in the 1970s,  Stereophonic has captivated audiences and critics alike. It has all ready earned its place among the most celebrated theatrical works of the season.

The Resonance of Stereophonic: A Tony Award Nominee

Stereophonic, a Symphony of Sound and Story

At its core, Stereophonic is a celebration of music and its profound impact on our lives. What makes Stereophonic different from other musicals is the way the play ingeniously intertwines an evocative narrative with a rich, immersive soundscape.  This intertwining creates an experience that is both sensory and emotional. The story follows a group of characters whose lives are intricately connected through music, exploring themes of love, loss, and the search for identity.

Stereophonic is the inside story of a Fleetwood Mac-style band Stereophonic, which tracks the volatile creation of a rock and roll album over the course of a year in the 1970s. The title, Stereophonic, itself hints at the dual nature of the story – one that resonates on multiple levels. The use of stereophonic sound technology within the production adds a unique layer of depth.  The score makes the audience feel as though they are part of the musical journey. This innovative use of sound design is one of the reasons Stereophonic stands out in a season filled with remarkable productions.

 

The Resonance of Stereophonic: A Tony Award Nominee

Stellar Cast and Direction

As you might expect, a production is only as strong as its cast and crew.  Stereophonic boasts some of the finest talents in the industry. The ensemble cast delivers powerful performances that bring the intricate characters to life. Each actor’s ability to convey the emotional depth and complexity of their role adds to the overall impact of the story.

The direction of Stereophonic is masterful, seamlessly blending the elements of music and narrative. I viewed a video clip of the production which was on Jimmy Farrell’s Late Night Show.  It’s fascinating, because although we know they are acting it feels like you are sitting in on a band’s recording session. The cast appears unaware of the audience–that’s so intriguing. The director, Daniel Aukin’s vision to create an immersive experience has paid off, with audiences often describing the play as a visceral and transformative journey. The meticulous attention to detail in both the staging, a recording studio, and the sound design is evident.

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Critical Acclaim and Audience Reception

Stereophonic mines the agony and the ecstasy of creation as it zooms in on a music studio in 1976. Here, an up-and-coming rock band recording a new album finds itself suddenly on the cusp of superstardom. The ensuing pressures could spark their breakup — or their breakthrough. As someone who lived during the 1970s when the production is placed, I hear my high school days in their music!

Not surprisingly, Stereophonic has received rave reviews from critics, who have praised its innovative approach and emotional depth. Many have noted the seamless integration of the musical and narrative elements.  The production pushes the boundaries of traditional theater. The critical acclaim is matched by audience reactions. Reports from media say that many theatergoers describing the show as an unforgettable experience. And the show hasn’t even been featured on the Tony awards yet!

The production’s nomination for multiple Tony Awards is a testament to its excellence. Categories include Best Play, Best Direction, Best Sound Design, and several acting nominations, reflecting the all-around strength of the show. Winning a Tony is one of the highest honors in the theater world, and Stereophonic’s multiple nominations underscore its impact and quality.

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The Musical Play Genre: Other Noteworthy Examples

You may not have realized that Stereophonic is part of a rich tradition of plays that incorporate music to enhance storytelling.

Here are some other notable examples:

  • Fela! – This vibrant musical play tells the story of Fela Kuti, the Nigerian musician and political activist. Known for its dynamic choreography and powerful music, Fela! immerses the audience in the world of Afrobeat and Kuti’s fight against oppression.
  • Once – Based on the Academy Award-winning film, Once is a poignant love story set in Dublin. The play features actors who double as musicians, playing instruments live on stage, creating an intimate and immersive experience that highlights the power of music in bringing people together.
  • The Band’s Visit – This Tony Award-winning musical tells the story of an Egyptian police band stranded in a small Israeli town. Through its hauntingly beautiful score and heartfelt narrative, The Band’s Visit explores themes of connection and the universality of human experience.
  • Passing Strange – A semi-autobiographical musical by Stew, Passing Strange follows a young African American’s journey to find “the real” through music and art. The play is noted for its rock concert-like atmosphere and its exploration of identity and self-discovery.
  • Spring Awakening – This rock musical adaptation of Frank Wedekind’s 1891 play tackles the struggles of adolescence and sexual awakening. The integration of modern rock music with a period setting creates a powerful and resonant experience for contemporary audiences.

Plays with Music for Students to Perform

If you are looking for a play with music for your students to perform.  I suggest checking out:

  • Bridge to Terabithia–-This powerful adaptation, supported by a lyrical score, focuses the humor, warmth and emotional intensity of Katherine Paterson’s Newbery Award winning novel. Jesse, alienated from the pragmatism of his family and rural Virginia culture, draws and dreams of becoming something special. Leslie, the new girl from the city and the ultimate outsider, opens a world of imagination, art and literature for him. Together they create Terabithia, a fantasy kingdom where they are safe from those who don’t understand them. Their friendship grows as Jesse’s world expands.

Looking for a lesson concerning the Tony awards?  Go here.

 The Future of Theatrical Innovation

I had never heard Stereophonic ‘s music until recently when I was listening to the Sirius station, Broadway.  Wow!  Whenever a theatrical production is unique, it paves the way for others to do the same.  It sort of whets a potential audience’s appetite,  demonstrating how traditional storytelling can be enhanced through modern technology and creative sound design. As audiences continue to seek out new and immersive experiences, productions like Stereophonic encourage others to follow.

As I mentioned previously, the 1970s are all the rage again.  It’s fun for me to reminisce about that important time in my life.  If for no other reason, I’d like to see Stereophonic and watch it winds its way through my memories.   As we await the results of the Tony Awards, one thing is clear: Stereophonic has made an indelible mark on the world of theater, and its influence will be felt for years to come.

Were you a student in the 1970s?  If not, do you enjoy listening to 70s music?  I’d love to hear from you.  Just email me at DhcBaldwin@gmail.com

The Transformative Power When Students Apply Stage Makeup
Graduation photo, 1974

Dramamommaspeaks** is dedicated to exploring the vibrant world of theater, offering insights and reviews on the latest productions, trends, and industry news. Stay tuned for more updates and in-depth analyses of your favorite shows and emerging talents.

Arts Quote We Love #7–Society Risks Losing Its Soul

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Let’s discuss this quote, “A society that forgets arts risks losing its soul.” by society critic  Camille Paglia. That’s a bold, passionate thought. I heartily agree with it. I have said time and time again, the fine arts make for a civilized society. I think we’d truly be lost without them.

A colorful background of a blog post concerning what happens to society if we have no arts.

Arts Quote We Love #7–Society Risks Losing its Soul

When this blog post was originally posted, we had not experienced the Covid yet.  Yikes!

How did the entertainment industry fare during that time? 

According to the National Endowment for the Arts, “Between 2019 and 2020, the U.S. arts economy shrank at nearly twice the rate of the economy as a whole: arts and cultural production fell by 6.4 percent when adjusted for inflation, compared with a 3.4 decline in the overall economy.

I’m certain that your city was impacted by the quarantine.  I’m aware that several theater companies closed their doors permanently during this time.  Here is one:  PACE (Performing Arts in Children’s Education)

What if you lived in a city with no arts whatsoever? I can’t even imagine such a place and I hope none exist. if you’d like to read some other arts quotes, go to: Arts Quote We Love #4–Civilizations Remembered for Their Arts or Arts Quotes We Love, #8

Civilizations

How do the Arts survive?

No music in restaurants or bars or to drive to in our cars every day. No paintings in our homes, no galleries, no color, no texture. No  ballet classes, no square dance groups, no interpretative dance) No movies, no musicals, no plays, no reader’s theatre, radio theater or poetry slams.

It’s difficult to imagine, but the Covid quarantine demonstrated what happens. However, it could occur again if we don’t fight for the performing and visual arts.

Arts Quote We Love #7–Society Risks Losing Its Soul

How many schools in the US don’t have art programs?
Among all public high schools, 88% offered at least one arts course in any discipline. While 12% of public high schools offered no arts instruction, 12% offered only one of the four arts disciplines, 28% offered two arts disciplines, 31% offered three arts disciplines, and 17% offered all four major arts disciplines.

File:National Endowment for the Arts (NEA) Logo 2018 Square on Black.svg

National Endowment for the Arts

The NEA is nearly on the brink of being axed by the federal government with every budget cut they make 

Truly, I don’t understand this.

What is the National Endowment of the Arts?  Simply put, NEA is an independent federal agency that funds, promotes, and strengthens the creative capacity of our communities by providing all Americans with diverse opportunities for arts participation.

NEA Accomplishments

In order to defend the NEA and explain my viewpoint here, I reviewed their website. 

Wow, here are some of NEA’s accomplishments:

  • 147,000 grants awarded since 1965
  • 5 billion has been awarded!
  • 34% of the money goes to underserved populations such as people with disabilities, institutions and veterans
  • 33% serve low income audiences
  • 40% takes place in high poverty neighborhoods

File:Ballet East Dance Company outreach program.jpg

The Ballet East Dance Company works with high schools in the low income neighborhood of East Austin.

There is a quiz on the NEA site,  “How Well Do You Know the NEA” and these are a few things I learned:

  • The NEA partners with the Department of Agriculture in the NEA’s Citizens’ Institute on Rural Design; the Department of Defense for Creative Forces: NEA Military Healing Arts Network; and the Federal Bureau of Prisons for the Artists-in-Residence program through the NEA’s Office of Accessibility.
  • The arts and culture sector contributed $730 billion to the US economy in 2014—4.2% of the GDP
  • Business leaders look for creativity in new hires. The Conference Board reports that creativity is among the top 5 applied skills that business leaders look for, and 72% say that creativity is of high importance.
  • 85% of military patients participating in Creative Forces: NEA Military Healing Arts Network at Walter Reed National Military Medical Center noted that art therapy was helpful to their healing.

I didn’t even finish the quiz, because I’d like to post more about them another time.  The National Endowment for the Arts is important and needs to continue to flourish.

Are you familiar with this quote by Jim Leach?  “Our culture is more shaped by the arts and humanities than it often is by politics.”

Thank God the NEA is there to look out and cultivate the arts!

Looking for a free drama class lesson?  This one concerns Lin Manuel Miranda. Click Here.

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

 

Ten Reasons Why Everyone Produces Anne of Green Gables

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Ten Reasons Why Everyone Produces Anne of Green Gables

Let’s talk about the ten reasons why everyone produces Anne of Green Gables. Facebook groups are beginning to chat about suggestions of good plays and musicals to produce. I am even a member of a chat group which talks real details such as how to make Pinochio’s nose grow in Shrek or how to transform the Beast in Beauty and the Beast.  Yes, that’s what we theater teachers discuss a lot.

I can’t help but notice the teachers who work in conservatory school districts in small town America.  Let’s face it–you can’t produce Chicago in those towns or even The Laramie Project. Theater is hard enough to sell to a community without it being any more contraversial than an innocuous theme such as bullies.  I understand the need for something conservative.

Classics such as Tom Sawyer, Alice in Wonderland, The Wizard of Oz, the Disney franchise will go over well in a conservative community.  I’ve directed all of the aforementioned.  My favorite to direct?  Anne of Green Gables, the play adaptation by Sylvia Ashby.

Ten Reasons Why Everyone Produces Anne of Green Gables

Ten Reasons Why Everyone Produces Anne of Green Gables

Anne of Green Gables is a perfect play for your company.  Not only have I directed it, I’ve produced it as well. In fact, many schools and companies produce the play. As you can tell, I know its ins and outs.

There are certain shows that are guaranteed winners for a company.  Anne of Green Gables ranks up there with The Diary of Anne Frank, The Miracle Worker, Alice in Wonderland, The Best Christmas Pageant Ever  just to name a few.

Ten Reasons Why Everyone Produces Anne of Green Gables

Ten Reasons Why Everyone Produces Anne of Green Gables

There are many reasons to include it in your season, but suffice to say you will make happy a lot of your potential audience members and your regulars.  In particular, I recommend Sylvia Ashby‘s adaptation. It is published by Concord Theatricals.com Ashby understands the challenges most schools and community theaters face as far as budget, casting and theatrical space.

The strengths:

1. The cast  is comprised of both males and females, BUT two of main characters are females.  Hallelujah

2. There are roles for adults and children of many ages. Nine females and seven males. If you need to pad the cast a little, it’s easy to do with more children in the school scenes.

3. The costumes can be as easy or complicated as your costume budget allows. Simple long skirts, long sleeved high neck blouses and lace  for the women work well.  Males can wear long pants, boots, a button down shirt with no collar and a cap or hat. You can add bloomers for the girls (which is easy to do and just darling) and knickers for the boys (which again is just so cute), but that’s up to you and your budget. If you want some more advice about the critical steps in costume design, check out: Critical Steps in Producing a Play or Musical: Costumes

4. There are a couple of costume issues–Anne’s hair turns green at one point, but that’s not too difficult to accomplish. We’ve used wigs. She also falls into the stream, so you can get her wet or just imply it by spraying her arms with water and maybe her hair.

5. There are several scenes with many characters on stage at once which means more time for everyone to have fun. I’m all about keeping everyone busy–so the more I can get my cast on stage, the better!

6. It’s a good length, about 120 minutes. This is not too difficult for middle school students to accomplish as well as high school.

7. The set can be as elaborate are you require (I’ve seen it produced on a revolving stage.) or simple. I have directed it with the house up center and the other various locales down stage of it. If you need extra advice about set design, check out: Critical Steps in Producing a Play or Musical: Set Design

Ten Reasons Why Everyone Produces Anne of Green Gables

 

 

 

 

 

 

8. There is a need for a boat.  One time a father went crazy on me and built an entire boat (yes, you read that right), but really, that’s not needed. You could do the scene with a bench on a small platform on casters.

9. In a school setting I directed it with two  Marillas and three Annes (one for each age we see as she grows up).  This plan was terrific for a number of obvious reasons.  It gave more females the opportunity to perform leads and lessened the number of lines they had to memorize.

10. The themes of family and friendship which radiate throughout the plot.  It is suitable for all audiences. If for no other reason, you should produce this play because an entire family will attend it.  It’s a huge crowd pleaser!

There are no cons against producing the play, in my opinion.

Direct a Classic!

girl reading

As we know, we are bombarded with everything which distracts us more than enriches us– the internet is the biggest culprir and all it holds.  I think the more we can get our students and the community in general to see classic books adapted into plays and musicals  the better. If you produce an adaptation of a classic novel such as Sense and Sensibility, you will be in like flint with your community.

If you think you can be a little less conservative, I always first suggest To Kill a Mockingbird or The Giver. If you are a community theater, find out which books the students study and produce play adaptation of those books.  For instance in according to Edu.com, most high school students read these books. 

In my opinion, we are losing the love of the written word. We are becoming habitual internet users.  I’m just as much at fault with this one as anyone else, except I’ve found an answer to my problem.

File:National Theatre at Home logo.jpg

I’m a member of the National Theater at Home streaming service.  It has done wonders for my imagination. Whenever I view one of their productions,  it feels like a vitamin has been injected into my brain.  The classics are the best vitamins, I’ve found.

The next time you are looking for a play that will become a guaranteed winner for your  audience, select Anne of Green Gables.  You’ll be glad you did!

What is a play or musical which sells out every time you produce it?  I’d love to hear about it.  Email me at DhcBaldwin@gmail.com and let’s chat!

Woman behind DramaMommaSpeaks

Eighteen Ways To Make Your Directing Experience Less Stressful, Part One

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director-directing

As I am sure you are aware, I have directed countless plays and musicals. Honestly, I quit counting when I was around two hundred. No matter how many times I direct, however, there are certain occuramces that I experience each time.

Now listen folks, I can save you TIME if you’ll apply my lessons to your directing experience. (I probably sound your mom, don’t I? Sorry.)
1. The play or musical will always be challenging in ways I didn’t expect.
2. I require the actors to remain quiet and respectful of me and others when rehearsal is in process. I can’t creatively problem solve if there is unnecessary noise around me. It distracts me.
3. Some props, costume or set piece will cost more than was budgeted. The miscellaneous money I set aside is for this purpose. Use the miscellaneous money, if you don’t, there may not be any the next time.
4. Someone in the show won’t jibe with everyone else in the cast, even if it is a one person show.  No, really. Working with people and their many personalities is tiring and challenging. The bigger the cast, the more issues arise. Some actors only think of themselves. They aren’t team players. I can’t fix a person’s personality in the time I have to rehearse and produce a show.  I just smile and keep my opinion to myself until I’m at home with a glass of wine in my hand. 😊
5. Usually, I  can direct a particular actor in a creative and inspire manner. But, sometimes NOTHiNG will work until the opening night curtain closes. Just as there can be a nonteam player in my cast, it’s not unusual to have someone who resists my direction. Some people lack confidence and novices are some of the most reluctant to trust me. However, once a show opens I find that a person’s resistance to my direction eases. I wait for them to come to me, then I try to direct them again.

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Diary of Anne Frank   March 2012

6. Actors can be challenged to attempt far more than is asked of them and I require a lot. “People don’t care how much you know, until they know much you care” is a motto I live by. Socializing with my cast, asking them about their day, job, school life or family helps me.  Creating a safe environment in which to take risks is essential. Just think about it–some people are never challenged at their jobs, complimented or acknowledged. I can do that for them. What a heady experience that must be for someone.

7.   If I rehearse the cast in a methodical and steady manner, we will make opening night in good shape. I don’t like to over rehearse or if I am acting, to be over rehearsed myself.  Usually play can be rehearsed in three or four weeks with an additional week for tech. A musical will take about six weeks to ready. That’s enough!

8. I always warm up my actors or ask that they warm up prior to the curtain each night. It is tough to focus at the beginning of a rehearsal. I ask my actor to socialize prior to rehearsal time, so we can begin on time and end on time.

I love to direct, I honestly do.  My resume is proof of that.

Go to the next post and find the rest of my lessons I learned to make directing less stressful.

Contact me at Dhcbaldwin@gmail.com or Deborahbaldwin.net

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You can find my award winning book at:  https://www.amazon.com/Bumbling-Bea-Deborah-Baldwin/dp/1500390356/ref=sr_1_1?ie=UTF8&qid=1476890703&sr=8-1&keywords=bumbling+bea

Newcomers Welcome! 

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Hello friends and friends of friends and friends of relatives and so forth……

BB chapter 16.

You may have found this blog through a Facebook advertisement announcing sales of my book, Bumbling Bea Or a friend of mine or relative might have shared my blog with you. Either way, welcome!

So you are probably thinking, “What the heck is this blog about?” First and foremost, it’s about my debut novel, Bumbling Bea. But it’s also about teaching theater to every grade level, directing over two hundred plays and musicals with adults and children, middle school students, my experiences mothering two grown daughters and a step son, my advice to those seeking to be married for over thirty years as I have and life!

I hope you find what you are looking for and thanks for stopping by!