Offers advice for theater directors on how to take and give rehearsal notes that will enhance the casts' trust in the director and will help each rehearsal to build productively on the lessons of the previous one. (SR)

Defines a stage director's rehearsal note as a written reminder to tell an actor (or technical person) something seen during a rehearsal when there was no time to stop the action. Finds a note can contain a suggestion, a correction, or a compliment. Presents examples from play rehearsals of when a note was needed. (PA)

Presents a rehearsal plan that not only keeps everyone on task but also produces stronger scenes. Suggests techniques such as: reading to the wall (suggests having no audience), sit in a circle (recite lines simultaneously), present a teaser, and blocking (find lines where the actors should move). Outlines a rehearsal worksheet. (SC)

Presents some guidelines and suggestions on things to know when considering renting a backdrop for a show. Discusses backdrop basics, types of backdrops, where to find drops, and how to rent the drops. (SG)

Discusses the difficulties of costume construction for high school theater productions. Advances a plan (and provides a design) for a mobile costume shop which contains the basic needs of a functional costume facility, using only 60 square feet of space. Lists every element and implement needed. (PA)

Suggests a number of steps that can be taken to improve the aesthetic and technical quality of stage photography. Discusses finding a photographer, film choices, equipment, other technical considerations, the photo call, and digital photography. (RS)

Describes how the author applies the four Rs of volunteerism: research, recruit, retain, and recognize. Outlines the basics of each and how they can be incorporated in a school program. (SG)

Describes the similarities between a vocational education program and what happens in an educational theater scene shop. Highlights the one main difference between the two as being the approach to risk management. Compares the goals of each program, and discusses their approaches to risk management. (PA)

Describes how, using moderately priced tools that can be easily stored when not in use, a mobile scene shop allows high school students to build scenery to the highest standards and provides a comprehensive theatre experience. Provides a detailed list, discusses making this investment, moving and storing the tools, advice on making the purchases,…

Describes a "hands off" directing style encouraging student actors to think for themselves, not to mimic blocking and line readings imposed by a director. Notes that this directing style is not always appropriate. Suggests that most actors (even teenagers) will undergo a journey of transformation from being themselves to portraying other people…

Suggests site-specific theatrical productions can create innovative productions in nontraditional spaces. Discusses the experiences of the author as he directed a site-specific production (Wendy MacLeod's "The Shallow End," set at an indoor pool) and addresses the lessons he learned from it. Includes advice on creating site-specific productions.…

Describes incorporating a community outreach program. Notes that it is a smart and reliable strategy that theatre artists - onstage and backstage alike - can use to engage their audiences and build stronger ties to the community in which they work that go beyond just filling seats. (SG)

Argues that theater instructors must also be artistic directors. Relates one instructor's experiences in taking over the acting and directing program at the Los Angeles High School of the Performing Arts and how his changing attitudes were reflected in his restructuring of the program. (PA)

Relates experiences as a recruiter for college theater programs in Florida. Provides tips for students in finding an appropriate monologue, developing the audition, and performing the audition. (PA)

Provides some background on the idea of K-12 teacher portfolios which emerged from the educational reform movement. Notes their use for theater education in particular. Suggests what might be common inclusions in a portfolio. Suggests that those who aspire to work in higher education should create a curriculum vitae portfolio. (PA)