Anyone Can Produce Plays with Kids

126744 Resource 100513 12031 101704 1147101600350 1227201194748 Controlled Act your age! ... Then again, don't!

Put a bunch of rambunctious extroverts onstage, and you're sure to have plenty of playful hijinks.

Properly harnessed into the rehearsal process, their energy can become a dazzling creative force. But what do you do when enthusiastic actors become squirrely and unmanageable?Having directed primarily 6-12 year olds, I've learned that a director needs to have a plan in place for redirecting escalating kids before they start to ramp up the "silly" scale.At the initial read-through, I explain to the cast that there is a difference between having fun at the expense of the play production process, and fun that actually contributes to the overall success of the show. I let them know that if I see or hear behavior that detracts from our creative efforts, I will ask them to consider how they might help the show be better. I conclude my little lecture by giving each person the opportunity to verbally commit to the show, to promise to do everything they can to help, rather than get in the way.Whenever I see someone working hard, learning their lines ahead of deadline, helping another or simply paying attention at the rehearsal, I point them out and comment on how they are contributing to the success of the play. I immediately and consistently reward helpful behavior.The very first time someone loses concentration and becomes silly--and it almost always happens backstage among kids who aren't actually working--I stop the rehearsal and ask the person directly if the behavior is helping or hurting the play, then give them time to answer. I smile and tell them that I'm not angry, just reminding them to work for, rather than against the process. Often I'll suggest something else they might do (like help someone memorize their lines) to move the production forward.That's usually enough to make my point and keep young people on task. Students who have worked with me on more than one show know the drill, and the youngest beginners are usually so fascinated with the process of rehearsing that they will do anything to help. The middle range, first timers, especially those who think of drama as just another activity like soccer, ice skating, basketball or clarinet lessons, sometimes take a little longer to get with the program.On very rare occasions, a person will get a third "reminder." Without yelling or losing my temper, I get right in their face and ask them whether or not they are truly committed to the play and these people, and I gesture to include the entire cast, who are all staring at the malefactor. I make sure that they verbally re-commit to helping the cast and production succeed. Then I smile and congratulate them for making the right choice.Though this has never happened, theoretically a student could decide not to commit to the play. If this were to happen, I'd simply release them from their commitment with no hard feelings, and free them to pursue other interests. Not everyone is cut out for this artistic endeavor.So far I've never had to dismiss anyone from a cast. Only once did I need to contact a parent and ask if there were circumstances at home, or a medical condition that could be contributing to the student's misbehavior. I like being the "good cop" and letting mom or dad be the "bad cop." Sometimes I'll overhear another actor reminding someone to "help" rather than "hurt" the play, so they encourage one another to work together, making my job easier.Once I realized that most distracting behavior is the result of boredom, I employed another tactic. I set up three "spaces" offstage, either in the audience or backstage. One area is the only place where food is allowed(and everyone cleans up after themselves). One area is a place for doing homework or other quiet activities. The third station is a place where people can quietly help each other work on lines. If someone becomes restless, wandering around, playing with props, etc., I invite them to choose a station. This keeps everyone in sight, and I don't have to go searching for cast members when their scene comes up for rehearsal.I like these two strategies because they reinforce the idea that there are no "good kids" or "bad kids." The success of the play is our mutual goal, and everyone realizes that we all need each other to pull it off.Young performers have loads of energy, and I want to focus and direct it, rather than squelch it. I want them to have fun, and have a positive experience. Then parents are amazed to see their wild and crazy kids working together for a common cause, instead of "acting their age." 9 application/xml false children directing directing a play elementary school kids producing a play producing a school play school play students touring a play Anyone Can Produce Plays with Kids This easy-to-read text opens the door to play production with children for teachers and parents who have little or no drama training. http://www.pioneerdrama.com/searchdetail.asp?pc=ANYONECANP&id=0 On With the Show! This straight-forward guide, which is really three books in one?gives you the tools to work more effectively and efficiently toward the final production. http://www.pioneerdrama.com/searchdetail.asp?pc=ONWITHTHES&id=6 Staging Musicals for Young Performers This step-by-step guidebook starts at the very beginning-selecting a musical, planning your rehearsal schedule, teaching theatrical basics and introducing your chosen musical to the group. http://www.pioneerdrama.com/searchdetail.asp?pc=STAGINGMUS&id=12 League of American Theatres and Producers The League of American Theatres and Producers, Inc. is the national trade association for the commercial theatre industry in North America, representing theatre owners and operators, producers, presenters, and suppliers of goods and services to the Broadway theatre community. http://www.livebroadway.com/ I smile and tell them that I'm not angry, just reminding them to work for, rather than against the process. 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