averick's Guides are
here to help you get the most out of this website,
learn about performance and production
requirements, explain the ins-and-outs of
copyright and how to put on your
first school play (and live to tell your
grandchildren about it !)
All
document downloads on this site are in Adobe Acrobat PDF
format - if you do not already have this software on your
computer, you can download a free copy of Acrobat Reader from
Adobe's website.
Putting on a show
Putting on the school musical is a daunting task, even
for experienced theatre teachers. If you find that you have been given
the task of directing the school musical do not try to do it alone.
Beg, plead, cajole or blackmail others to be involved in it with you.
Form a committee which besides making it easier for you will make you
feel less alone in decision-making.
Rope others in
Ideally, the committee should consist of: the
director, the musical director, set designers, overseer for any set
construction, costume person and advertising whiz.
Have an initial meeting with this committee to sort
out responsibilities and work out a time frame. Give yourself between
two to three months from start to production.
Selecting a musical
Consider the students you have to work with and the
talent (or otherwise) they may have. Don't choose people who have
other commitments that will prevent them from attending rehearsals -
no matter how good they are. You must ask for one hundred per cent
commitment and enthusiasm.
Don't pick a musical solely because you like it. Make
sure it can be done, and well done, by your students. Rather stage a
good production of 'The Boy Friend' than a mediocre production of 'The
Sound of Music'. Most reputable musical and play specialists will send
out material on perusal at no cost except for postage. Try to read the
material whilst envisioning your students in the roles.
A great problem for theatre production is the lack of
males. Generally speaking, five or six girls to each male will turn up
for auditions. hence, select material that will give girls something
worthwhile to do instead of just lumping them in the Chorus. Read the
play rather than just a cast list to find out the quality and length
of role for each character.
Make sure the musical director has the music for any
show you are considering. Any decision regarding the choice of musical
should be a joint one. When you find something suitable, run it by the
committee. If it is generally acceptable, arrange for the purchase of
scripts, scores and other related items.
Auditioning
It is not a good idea to read the whole play at
auditions, rather select scenes that will give an indication of the
students ability and flexibility. Try each student in different roles.
If you know your students well, you will probably have certain people
in mind for the lead roles but open auditions must be held. Be open
minded. If the people you had in mind for roles are as good as you
thought they would be, they will shine through; if not, they were
perhaps not as good as you thought. Sometimes, classroom ratbags are
wonderful on stage ..... particularly in comic roles.
The audition process may take several sessions. These
should be held at the same time as the music auditions so that the two
directors can confer. Don't put a good actor in a singing role if he
sings like a dugong and conversely don't use a singer who is a wooden
as an actor.
Rehearsals
When you have cast your musical, give out a
rehearsal/performance schedule before starting rehearsals. Send these
home to parents with a note asking for their co-operation in ensuring
that their child will attend each rehearsal. It is advisable to ask
parents to sign an agreement that they are willing for their child's
involvement.
Split up the rehearsal schedule so that only those
required need attend specific rehearsals. Don't have people sitting
around for an hour or so waiting to do their lines. It is time-wasting
for them and they can be disruptive.
Use the lunchbreaks effectively. Often a song and/or
dance routine can be learnt in this time. It is a good time also to
rehearse romantic scenes which young actors are reluctant to rehearse
in front of their peers until they feel comfortable with the scene.
It is a good idea to call the Chorus first and work on
the music. Always make the Chorus feel important and make rehearsals
fun for them by giving them plenty to do. There is nothing as boring
as being in a Chorus which is required to walk on, sing a backing for
a song and then walk off again. If it is possible, bring a specialist
in to work with them .... perhaps a choreographer to make them feel
important. Constantly stress that a good musical rests on the
shoulders of a good Chorus.
Endeavour to stick closely to your rehearsal schedule.
If you have called a rehearsal for Act Two, Scene Three, then do it.
Establish very early in rehearsal that these sessions are for work. A
disruptive force in rehearsals can set the production back
considerably. Self-discipline should be expected early and does not
lesson the enjoyment.
Make sure that the rehearsal schedule is marked 'books
down' at least two weeks before the show. This is when the exciting
developments begin.
Introduce your stage manager to the cast well before
performances and let them know that he/she is in complete charge of
whatever happens on the set or backstage after the performance season
begins.
Costume
With the rehearsal schedules, give out also forms
which are to filled out with name of character/s and measurements.
These are to be passed on to your costume department as soon as
rehearsal begin. Ask parents for help, particularly with Chorus
costumes. They are more inclined to help if you send material home
that is already cut out ready for sewing. Ideally, the costumes are
ready a week or so before performance to allow for additions or
alterations. If the costumes for you musical are different from
contemporary clothes give out bits and pieces of costume early so the
cast get used to wearing something a little more exotic. This apples
particularly to period dramas or musicals with themes such as space or
clowning.
Sets and props
Sets are probably the last item to be made. Art people
often like to see a show in certain colours and this may influence the
colours of the costumes. Make sure that the cast know the positioning
of each set and give them an improvised stage set so they are used to
it.
It is important that actors get used to using any
hand-props that are to used in the show. If they have to be
constructed, improvise so that their usage is part of the rehearsal
procedure. If you are using mikes, try to organise their set up early
in rehearsals as actors have to familiarise themselves with their
positioning and usage. If there are none available for earlier
rehearsals, again improvise.
Advertising
Start the advertising campaign three weeks before the
show. Flood the area with posters. If possible, try for a spot on
local radio. High School students may like to do some street theatre
(under supervision) where they can hand out leaflets. Many shopping
centres are happy for schools to showcase some of the
music/singing/dancing from their show. constantly remind other
students from the school of the forthcoming production. Offer a prize
to the student in the show who sells the most tickets.
Performance
Always endeavour to have a preview afternoon which is,
in fact, another dress rehearsal; this time with an audience. Primary
schools are usually very happy to see a High School production,
another Primary School and Pre-schools love to see the Primary
School's offering. You may consider inviting senior citizens to the
preview .... but don't be surprised if they talk louder than the
actors!
Try to have a break between dress rehearsal and
performance so that the actors, and you, have a chance to relax. If
you are starting performances on a Thursday, have your dress rehearsal
Monday or Tuesday.
The director needs to there for the cast on each
night. You need to be there to boost up the energy level prior to each
performance. The second night is traditionally flatter than opening
night, so you will have to 'rev up' the cast for that night.
Ask the Stage Manager to put in a report detailing any
problems encountered and any suggestions regarding the smooth running
of any future shows.
Post Performance
No matter how amiable you are feeling towards the
cast, never, never, never, attend a cast party held at the home of a
student!!! What you may see there you may be accused of condoning.
Have a thank-you meeting for the cast and all others
involved including front-of-house and back-stage workers. This can be
a special lunch.
Have an informal meeting with the committee to discuss
the production. Consider all the positive aspects and any problems
that can be avoided next time.
Have a short break, then start looking for a suitable
show for next year. Putting on the school musical is a bit like
child-birth, you forget the pain and find yourself doing it all over
again at a later date!
averick's Guides are
here to help you get the most out of this website,
learn about performance and production
requirements, explain the ins-and-outs of
copyright and how to put on your
first school play (and live to tell your
grandchildren about it !)
