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        <Summary>Wondering what's up with Pioneer Drama's playwrights, composers, plays and musicals?</Summary>
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         <Description>Well, it's been about three months since an intrepid group of eighth and ninth graders at Summit School performed my new play, &lt;span style="FONT-STYLE: italic" class="Apple-style-span"&gt;The Prince and the Slacker&lt;/span&gt;, so I thought it was time to think about submitting the play to Pioneer. A first production of a play is a great way to find out what works and what doesn't, and I always find it's good to get a little distance before revising.&lt;div&gt;&lt;br class="webkit-block-placeholder" /&gt;&lt;/div&gt;&lt;div&gt;The first thing I did was pop in the DVD of the play and read through the script as it was playing. During rehearsals we had changed a few lines, added a couple of jokes, and put in some new business, so I marked my script as I watched the DVD. This also gave me a chance to remind myself what didn't work. One scene in particular I marked for a major rewrite.&lt;/div&gt;&lt;div&gt;&lt;br class="webkit-block-placeholder" /&gt;&lt;/div&gt;&lt;div&gt;I spent the better part of a day getting the script cleaned up and up to the standards of our production. Next was to think about how I could make it as flexible as possible. Our group had been mostly boys, but I knew before I wrote the play that many drama groups have more girls than boys. I had kept this in mind when originally writing the play, so now I changed many of the parts to &amp;quot;flexible&amp;quot; roles, meaning they could be played by either a girl or a boy. This meant rewriting lines to remove &amp;quot;he&amp;quot; and &amp;quot;she&amp;quot; and taking out other references to gender. I also gave all these characters names that could work for either a male or female. In the end, &lt;span style="FONT-STYLE: italic" class="Apple-style-span"&gt;The Prince and the Slacker&lt;/span&gt; will have at least 11 flexible parts.&lt;/div&gt;&lt;div&gt;&lt;br class="webkit-block-placeholder" /&gt;&lt;/div&gt;&lt;div&gt;Some parts, like the spoiled brat movie star Vegas Marriott, just have to be played by a girl; while others, like the frustrated French businessman Jean Claude Jean-Claude, will work best when played by a boy, but more than half the roles will be flexible&amp;mdash;I think that's pretty good.&lt;/div&gt;&lt;div&gt;&lt;br class="webkit-block-placeholder" /&gt;&lt;/div&gt;&lt;div&gt;Finally I made one last pass, checking that all the stage directions were clear, writing a description of the set, and consolidating some scenes (my wife, Janice, who directed the original production, likes to divide the play into short scenes for rehearsal purposes).&lt;/div&gt;&lt;div&gt;&lt;br class="webkit-block-placeholder" /&gt;&lt;/div&gt;&lt;div&gt;So, &lt;span style="FONT-STYLE: italic" class="Apple-style-span"&gt;The Prince and the Slacker&lt;/span&gt; is almost ready for submission. I'll let it sit for a couple of days and then read it over one more time before sending it off to Pioneer. If I'm lucky, in a few months you'll have a chance to perform it at your school. If you do, I can't wait to see what Vegas Marriott's costume looks like.&lt;/div&gt;</Description>
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         <Description>Does anybody else like watching the Olympics? Because I love it. Sports I would never care anything about suddenly take on urgent importance when those five colored rings are flying above the stadium and the torch is lit. One of the things that really strikes me when watching the parade of athletes in the Opening Ceremony is that for the vast majority of these talented people their Olympic experience will consist of a few minutes (or even a few seconds) of competition. They will be eliminated in the first heat or the first round of their chosen sport and become spectators. But it is these athletes that make the Olympics so special.&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;The Olympics are for every nation, not just the sports powerhouses, and while a few weeks from now we will only remember the names of a dozen or so superstar Olympians, for those thousands of others who marched into the stadium last week the words of Pierre de Coubertin will always ring true. Coubertin was the founder of the modern Olympic movement and he said, &amp;quot;&lt;span style="FONT-FAMILY: Verdana; COLOR: rgb(0,0,0); FONT-SIZE: 12px" class="Apple-style-span"&gt;The important thing in the Olympic&amp;nbsp;Games is not winning but taking part. The essential thing in life&amp;nbsp;is not conquering but fighting well.&amp;quot;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style="FONT-FAMILY: Verdana; COLOR: rgb(0,0,0); FONT-SIZE: 12px" class="Apple-style-span"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style="FONT-FAMILY: Verdana; COLOR: rgb(0,0,0); FONT-SIZE: 12px" class="Apple-style-span"&gt;What does all this have to do with drama (other than the obvious fact that the Olympics are the biggest piece of theatre on the planet)? Well, if you know my plays you'll know that I think every role should be important, that every actor should have a chance to shine. But you probably also know that old adage that their are no small parts, only small actors. As actors, I do believe that there is a lot to be learned from Olympians when we get cast in parts other than those we set our hearts on. The important thing is not to be a star, but to take part. The honor is not in playing the lead, but in contributing to something bigger than ourselves.&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style="FONT-FAMILY: Verdana; COLOR: rgb(0,0,0); FONT-SIZE: 12px" class="Apple-style-span"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span style="FONT-FAMILY: Verdana; COLOR: rgb(0,0,0); FONT-SIZE: 12px" class="Apple-style-span"&gt;And, just as every athlete will have a chance to walk into that stadium for the closing ceremonies and be applauded for their efforts, every member of a cast can step onto the stage when the play is over and take a well-deserved bow.&lt;/span&gt;&lt;/div&gt;</Description>
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         <Description>Have you ever had that feeling of fear in the pit of your stomach as you're about to step onto the stage&amp;mdash;what if you forget your lines, what if you can't remember you're blocking, what if you MESS UP! No matter how well you've rehearsed, sometimes the stage fright comes just the same. Well here's some (sort of) good news. It's not your fault; it's just biochemistry.&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;I was reading in Bob Harris' book &lt;span class="Apple-style-span" style="font-style: italic; "&gt;Prisoner of Trebekistan&lt;/span&gt; (yes I'm a hugh &lt;span class="Apple-style-span" style="font-style: italic; "&gt;Jeopardy!&lt;/span&gt; fan) that what you might call stage fright is a natural biochemical reaction to stress. When our body detects a threat (i.e. comes under stress) it pumps us full of Adrenaline and all sorts of other chemicals that make us ready to fight, or scream, or run. At the same time, it shuts down parts of the brain not needed for these reactions&amp;mdash;like our memory. That's why we can forget lines if we're having stage fright.&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;What to do? Well, the first thing is rehearse yourself well enough that you eliminate as much of the stress as possible. Harris talks about rearranging his living room to look just like the &lt;span class="Apple-style-span" style="font-style: italic; "&gt;Jeopardy!&lt;/span&gt; set and wearing his game day clothes for practice. We do the same thing in the theatre&amp;mdash;it's called a dress rehearsal. If we can convince our brains that a particular situation (in the case putting on a play) is NOT stressful, then our brains will not react with all that nasty chemistry that shuts down our memories. So rehearse a lot, and do your best to stay relaxed while you are rehearsing.&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;Still, once you know there is an audience out there, sometimes the nerves return. What can you do? Harris has a great idea about how to fool your brain. It turns out we can train our brains to associate certain stimuli to trigger certain emotions or feelings. The idea of a theatre full of people might stimulate the &amp;quot;nervous&amp;quot; feeling; but we can counteract that with another stimulus. First, you have to train your brain.&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;During the course of your rehearsal period, do the following several times. Sit alone in a dark room and relax. Think of a peaceful, serene time in your life, a time completely free of stress. When you feel completely relaxed, it's time to start training the brain. Pick a physical stimulus (it might be snapping your fingers, or tapping your palm with a finger&amp;mdash;anything you don't do on a regular basis) and repeat that stimulus over and over as you remain in your relaxed state. Eventually your brain will learn to associate that stimulus with a state of relaxation. Then, when you feel yourself getting nervous backstage, close your eyes and repeat the stimulus. If you've fully trained your brain, you will start to feel the stress disappear, and your memory will stay clear and sharp.&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;Bob Harris says this technique helped him win on &lt;span class="Apple-style-span" style="font-style: italic; "&gt;Jeopardy!&lt;/span&gt; Here's hoping it will help you put on a great show without an ounce of stage fright.&lt;/div&gt;</Description>
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