Explores production ideas for plays other than works by Shakespeare, including medieval plays such as the "Wakefield Noah" by the Wakefield Master. Lists some questions to consider when deciding to perform a medieval play. (PA)

Outlines steps in casting a play: the group should choose a piece with the group in mind; people should be shown off to their best advantage; and ageism, sexism, or racism should not enter the casting process. Performance reality should be kept in mind. (PA)

Describes the relationship between a set designer and a director. Explains that set design is an integral part of every production. Compares the different fears of the set designer and the director. Relates an experience in a University of Kansas production of "Gypsy" in which the production was a collaborative effort in all respects.…

Offers ways for high school drama teachers to simplify, streamline, and lessen the uneasiness of the process of play selection, auditions, and casting. (SR)

Notes that in drama education programs, students are routinely given responsibility in the real world of theatre. Relates the author's experience as an intern at a theatre in New York City, serving as the assistant stage manager, and failing at his job. Concludes that the playwright deserved a crew who showed initiative and solved problems--a crew…

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)

Uses examples from two professional sketch-comedy groups and from a summer camp to demonstrate ways to put together a sketch comedy showcase that works well in a school setting. Discusses choosing material, putting the showcase together, styling and making it look good, and the grading process. (SR)

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,…

Outlines things to do throughout the year to develop and keep responsible technical theater staff, including praise, matching the right students to the right jobs, hiring professionals to advise when necessary, and appointing crew heads and creating tech crews. Argues that raising status of theater technicians and delegating genuinely important…

Suggests that theatre's capacity to educate is often overstated. Notes theatre created by and for teenagers is especially guilty of proselytizing. Argues the real danger is that the cumulative, subliminal message is that theater is medicine. Suggests that playwrights, directors, and artistic directors leave the education for the classroom and take…

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 one school's experience taking a production on tour. Tells what happened during their preparation period, the choices that they made, and the answers to the statement "If I had to do over again...." Presents 11 lessons learned from their experience. Notes that touring a show teaches students invaluable lessons. (SG)

Advocates rearranging the steps directors follow in conventional theater productions. Describes a collaboration with an artist and a group of Lake Ridge Academy (Ohio) theater students that began with the construction of a sculpture/set piece that inspired the performers to write. The company then performed these writings around the sculpture/set…

Discuses mainstreaming students into drama classes. Suggests ways to determine whether a student is ready to be mainstreamed, the importance of age and interest-appropriate mainstreaming, and casting scenes and plays. (RS)

Discusses the subtle psychological strategies good directors know how to employ with actors. Contends that if a director demonstrates a diplomatic attitude toward every student involved in a production, a perfect working atmosphere is created. Explores diplomacy basics; first impressions; rehearsal problems; personality issues; and talking points.…