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Free 2024 Workshop
Professional Development for Drama Teachers
September 16, 2024, 9:45am to 3:00pm Open to high school and middle school drama teachers at any school in New Mexico APS Fine Arts Library, 912 Oak Street SE, Unit M, Albuquerque, NM 87106 (For detailed instructions, please visit the APS Fine Arts website.) |
Pre-Session Gathering
9:45-10:00am
Get to know one another before the first session begins.
Session 1
“Grounding Our Work In Reality”
Session Leader: Carlos Encinias
10:00-11:15am
How to ask actors to develop a realistic set of circumstances, through leading questions, and learn to let go of “acting” and relax into physicality. Carlos’ experience working with a wide range of students in New York and across the country gives him a lot of experience in this realm. He will conduct the session as an interactive interrogatory with on-our-feet exercises.
Session 2
“Bringing Characters Inside Out”
Session Leader Travis Ward-Osborne
11:30am-12:30pm
Every performer has at least some element of every character in them and vice-versa, according to the Travis philosophy, one that has served him well as he has had to perform characters on a moment’s notice and with little rehearsal. We will explore how to apply this philosophy and, in effect, get to “know” one’s character. We will discuss and practice how physical expression amplifies a character’s believability and how a performer might integrate this approach and the accompanying concepts into their process..
Lunch
12:30-1:15pm
Please either bring your own lunch (a refrigerator will be available) or order a lunch on September 16 from Dion’s on Gibson at University by 10:00am day of the workshop to be picked up at 12:15pm. We will pick up your order for you. We will need to know your phone number to identify and pick up the order and whether it's a salad, sandwich, or pizza.
Session 3
“Putting the Fizz in Physical”
Session Leaders Terry S. Davis and Laura A. Maness
1:15-2:45pm
Mixing Beetlejuice with (Michael) Chekhov, among other spirit guides, Terry and Laura will lead participants in ways to get students to lighten up, loosen up, and let go. This on-your-feet workshop was a favorite of Enchantment Awards participants, breaking down internal and external barriers. We’ll throw in a dash of (Michael) Shurtleff to add the right amount of storytelling sparkle.
9:45-10:00am
Get to know one another before the first session begins.
Session 1
“Grounding Our Work In Reality”
Session Leader: Carlos Encinias
10:00-11:15am
How to ask actors to develop a realistic set of circumstances, through leading questions, and learn to let go of “acting” and relax into physicality. Carlos’ experience working with a wide range of students in New York and across the country gives him a lot of experience in this realm. He will conduct the session as an interactive interrogatory with on-our-feet exercises.
Session 2
“Bringing Characters Inside Out”
Session Leader Travis Ward-Osborne
11:30am-12:30pm
Every performer has at least some element of every character in them and vice-versa, according to the Travis philosophy, one that has served him well as he has had to perform characters on a moment’s notice and with little rehearsal. We will explore how to apply this philosophy and, in effect, get to “know” one’s character. We will discuss and practice how physical expression amplifies a character’s believability and how a performer might integrate this approach and the accompanying concepts into their process..
Lunch
12:30-1:15pm
Please either bring your own lunch (a refrigerator will be available) or order a lunch on September 16 from Dion’s on Gibson at University by 10:00am day of the workshop to be picked up at 12:15pm. We will pick up your order for you. We will need to know your phone number to identify and pick up the order and whether it's a salad, sandwich, or pizza.
Session 3
“Putting the Fizz in Physical”
Session Leaders Terry S. Davis and Laura A. Maness
1:15-2:45pm
Mixing Beetlejuice with (Michael) Chekhov, among other spirit guides, Terry and Laura will lead participants in ways to get students to lighten up, loosen up, and let go. This on-your-feet workshop was a favorite of Enchantment Awards participants, breaking down internal and external barriers. We’ll throw in a dash of (Michael) Shurtleff to add the right amount of storytelling sparkle.
Session Leaders
Session 1
Carlos Encinias is originally from Albuquerque, New Mexico and has been a proud New Yorker since 2000. His career as an actor on Broadway spans more than two decades and most recently includes How to Dance in Ohio as Kurt/Rick, understudying Dr. Amigo. Other Broadway credits include Les Miserables, Mamma Mia!, Good Vibrations and Scandalous starring Carolee Carmello, plus a run in the hit Off-Broadway production of Altar Boyz. Carlos is a passionate educator and teaches theatre and dance at the Professional Performing Arts High School in Manhattan, Take It From the Top and for the Dreamyard Project. As a director, he’s worked at Pittsburg CLO, North Carolina Theatre, The Gateway and Adirondack Theatre Festival. As a writer, his short story “Luca’s Journey” has been performed at several events and on Houses on the Moon’s podcast. He is currently developing Numbe Whageh with fellow New Mexican writer/actor, Jennifer Sanchez and is passionate about bringing Hispanic, Indigenous and Queer stories to the stage.
Session 2
Travis Ward-Osborne grew up in Albuquerque as a tiny triple threat. He danced at Fishback Studio of the Dance and New Mexico Ballet Company among others, he was a member of the Albuquerque Boy Choir for eight years, and performed in productions with MTS and Landmark Musicals. After graduating from Public Academy for Performing Arts, he skipped town to attend the prestigious boarding school, Walnut Hill School for the Arts in Natick, MA. He then set off to the University of Michigan where he earned his BFA in Musical Theatre. After graduating, he moved to New York City where he has enjoyed a bounty of professional success. Over the last decade, he has had experience as a featured ensemble member, a cover for several principal roles, and a principal performer over the course of five Broadway shows and three national tours, including Moulin Rouge!, Miss Saigon, Disney’s Aladdin, A Beautiful Noise, and Holiday Inn. He is currently on tour with the Broadway production of Funny Girl where he covers Nick Arnstein and Eddy Ryan.
Session 3
Terry S. Davis, Moderator
Co-Executive Director, New Mexico High School Musical Theatre Awards; Co-Producer, Enchantment Awards
Terry has directed for Musical Theatre Southwest (MTS), Albuquerque Little Theatre (ALT), The Vortex Theatre, and The University of New Mexico (UNM), including Thoroughly Modern Millie, Damn Yankees, The Pajama Game, Sweet Charity, A Funny Thing Happened on the Way to the Forum, Sherlock Holmes: The Final Adventure, Servant of Two Masters, and Once Upon a Mattress. He has performed in many plays and musicals, including Crimes of the Heart, (Barnette Lloyd), They’re Playing Our Song (Vernon Gersch), Camelot (King Pellinore), Anything Goes (Sir Evelyn), and Bye Bye Birdie (Harry MacAfee). Terry led acting classes for MTS and ALT, and, for many years, audition training sessions for Albuquerque Civic Light Opera Association. He earned an MFA in Dramatic Writing from UNM and was named a co-winner of the Jean Kennedy Smith Playwriting Award from the Kennedy Center for his play The Family Frost.
Laura A. Maness, Moderator
Co-Executive Director, New Mexico High School Musical Theatre Awards; Co-Producer, Enchantment Awards
Laura holds a BA in Theatre Arts, a BA in Anthropology, and an MA in Theatre Education and Outreach. She joined Popejoy Hall’s staff in 1995. Since 2005, she directed the Education and Outreach program, overseeing the Schooltime Series, Senior Program, and Community Outreach Program. She loves creating opportunities to introduce the performing arts to new audiences, and engaging participants in exploring their bodies, minds, and creativity, especially youth. Her superpower is building programs from the ground up. Laura served two terms as President of the New Mexico Presenters Alliance, two terms as a board member and Chair of the Membership Committee for the International Performing Arts for Youth, and is the co-founder/co-producer of this program. The YWCA has honored Laura with the Women on the Move Award. Laura has been involved in theatre, on stage and backstage, since she saw her first production at age 8.
Session 1
Carlos Encinias is originally from Albuquerque, New Mexico and has been a proud New Yorker since 2000. His career as an actor on Broadway spans more than two decades and most recently includes How to Dance in Ohio as Kurt/Rick, understudying Dr. Amigo. Other Broadway credits include Les Miserables, Mamma Mia!, Good Vibrations and Scandalous starring Carolee Carmello, plus a run in the hit Off-Broadway production of Altar Boyz. Carlos is a passionate educator and teaches theatre and dance at the Professional Performing Arts High School in Manhattan, Take It From the Top and for the Dreamyard Project. As a director, he’s worked at Pittsburg CLO, North Carolina Theatre, The Gateway and Adirondack Theatre Festival. As a writer, his short story “Luca’s Journey” has been performed at several events and on Houses on the Moon’s podcast. He is currently developing Numbe Whageh with fellow New Mexican writer/actor, Jennifer Sanchez and is passionate about bringing Hispanic, Indigenous and Queer stories to the stage.
Session 2
Travis Ward-Osborne grew up in Albuquerque as a tiny triple threat. He danced at Fishback Studio of the Dance and New Mexico Ballet Company among others, he was a member of the Albuquerque Boy Choir for eight years, and performed in productions with MTS and Landmark Musicals. After graduating from Public Academy for Performing Arts, he skipped town to attend the prestigious boarding school, Walnut Hill School for the Arts in Natick, MA. He then set off to the University of Michigan where he earned his BFA in Musical Theatre. After graduating, he moved to New York City where he has enjoyed a bounty of professional success. Over the last decade, he has had experience as a featured ensemble member, a cover for several principal roles, and a principal performer over the course of five Broadway shows and three national tours, including Moulin Rouge!, Miss Saigon, Disney’s Aladdin, A Beautiful Noise, and Holiday Inn. He is currently on tour with the Broadway production of Funny Girl where he covers Nick Arnstein and Eddy Ryan.
Session 3
Terry S. Davis, Moderator
Co-Executive Director, New Mexico High School Musical Theatre Awards; Co-Producer, Enchantment Awards
Terry has directed for Musical Theatre Southwest (MTS), Albuquerque Little Theatre (ALT), The Vortex Theatre, and The University of New Mexico (UNM), including Thoroughly Modern Millie, Damn Yankees, The Pajama Game, Sweet Charity, A Funny Thing Happened on the Way to the Forum, Sherlock Holmes: The Final Adventure, Servant of Two Masters, and Once Upon a Mattress. He has performed in many plays and musicals, including Crimes of the Heart, (Barnette Lloyd), They’re Playing Our Song (Vernon Gersch), Camelot (King Pellinore), Anything Goes (Sir Evelyn), and Bye Bye Birdie (Harry MacAfee). Terry led acting classes for MTS and ALT, and, for many years, audition training sessions for Albuquerque Civic Light Opera Association. He earned an MFA in Dramatic Writing from UNM and was named a co-winner of the Jean Kennedy Smith Playwriting Award from the Kennedy Center for his play The Family Frost.
Laura A. Maness, Moderator
Co-Executive Director, New Mexico High School Musical Theatre Awards; Co-Producer, Enchantment Awards
Laura holds a BA in Theatre Arts, a BA in Anthropology, and an MA in Theatre Education and Outreach. She joined Popejoy Hall’s staff in 1995. Since 2005, she directed the Education and Outreach program, overseeing the Schooltime Series, Senior Program, and Community Outreach Program. She loves creating opportunities to introduce the performing arts to new audiences, and engaging participants in exploring their bodies, minds, and creativity, especially youth. Her superpower is building programs from the ground up. Laura served two terms as President of the New Mexico Presenters Alliance, two terms as a board member and Chair of the Membership Committee for the International Performing Arts for Youth, and is the co-founder/co-producer of this program. The YWCA has honored Laura with the Women on the Move Award. Laura has been involved in theatre, on stage and backstage, since she saw her first production at age 8.
Summary Notes from the 2023 PD Workshop
Session 1
Preparing Students for College-Level Study
READING: While it has long been difficult getting college students to read their assignments, regardless of the course of study, reading and preparedness is necessary for students to contribute to class discussion. Students don’t read their emails, let alone assigned reading. How can we get information to them when their attention spans are much shorter as they are accustomed to communication via short sound bites, text, and videos on social media. Professors look to high school and even mid-school teachers to stress the importance of reading early-on in their education. Dale talked about his experience in mid-school, going to UNM to see a play, getting a tour, and learning early-on that if you work to get the grades, and follow the path, you’ll get access and admission to college. It’s important to give students the support to understand there is opportunity through studies, career development, and experience.
INVESTING IN OUR YOUTH: Many of our students saw their first plays in community theater and university productions. This exposure helps the younger kids “get the bug” and to learn and set academic goals. How can we make room in our curriculum for connection between mid-school and universities, through field trips, workshops, etc.? It would be helpful for universities to showcase their theater programs to community programs and mid- and high schools. Several universities are already doing this, and Jon, Wil, and Kate all agreed they would travel to do master classes in high school programs. Universities can go to mid- and high schools; high school kids can do shows for the elementary kids, and mid-school kids can do shows for kindergarteners. It’s the long game, but eventually it will pay dividends.
NEWCOMERS: On the contrary, beginners are also welcome in most college theater programs. No auditions are required for admission to many college theater programs; as long as the students meet the requirements for general admission. UNM theater department holds auditions the first week of school for the semester’s plays.
AUDITION PROCESSES: Another area in which students could use more instruction prior to college is familiarity with the audition process. Many students are unprepared for auditions, and unfamiliar with the language of auditions (i.e., when asked to prepare 16-32 bars of a song, they have no frame of reference [32 bars is about a minute; 16 is 30 seconds]). Other issues include coming with no sheet music for the accompanist, bringing tracks, not knowing how to guide an accompanist, and not memorizing monologues, and students doing impersonations of actors in movies. Students should be versed in the audition as a formal presentation, including greetings, composure, and not making excuses for poor performance. Lesson planning around the audition process, as well as “how to memorize” (hard work; takes time) will help as well.
ACTING vs. TECH: We need to encourage students to study all aspects of theater and build an understanding of the balance that is necessary in the profession. In fact, there are more professional jobs in technical fields (i.e., costumes, stage managing) than there are in performing, and this can be an important distinction to make earlier in students’ theatrical pursuits. Often, students want to do everything, join every organization, do all performing arts programs available, with their theater involvement focused only on acting. Gael requires her actors to also serve on the technical crew to gain more balance and perspective.
TOXIC BEHAVIOR: Drama programs can be a natural fit to work with students and their attitudes, habits, and behaviors in contributing to a team. We discussed how gossiping, complaining, and other toxic behavior that exists in young (dramatic) people is more prevalent since COVID. It seems students went online and unlearned how to be respectful of one another in person. The isolation and uncertainty have caused a mental health breakdown globally. It’s also difficult to work with students who think they know everything. How can we work to weed out this toxicity? Or at least foster self-awareness and discourage such behaviors as immature and a waste of time for learning and collaborating.
TIME MANAGEMENT: Time management is an important skill many students haven’t yet tackled independently before their undergraduate studies. Stressing to arrive early and prepared is paramount, as the old saying goes, that early is on time, on time is late, and if you’re late, you’re fired. Professors would rather have students practicing these skills, habits, and theater norms early, so that colleges can teach material rather than babysit.
DIVERSITY/INCLUSION: We also discussed the challenge of diversity on stage, and particularly in musicals. We can see the lack of diversity even in our own Enchantment Awards. Many of our NM undergraduate students are first generation college students, often with no generational wealth. Many of our diverse students come from strong family units, with strong values where activities outside the home or the family are superfluous. Theater can be seen for many students as an unattainable pipedream. Others may dream of working in theater, but feel they need to pursue “success” and stability in other professions. Kate expressed that many students, especially 1st generation, are nervous to get involved in the theater department, but student organizations like UNM’s SCRAP Productions encourage participation and confidence.
CURRICULUM: The teachers, many of whom are currently building their school’s theater programs, also discussed sharing ideas amongst one another for structured play and how to make other classroom exercises fun.
CHOOSING A PROGRAM: Jon stressed that for success in the arts, 2-year community college can be a difficult transition. With the affordability of New Mexico’s four-year public schools, it’s better to have the growth and continuity from a 4-year program, than to pursue the arts in a 2-year degree program.
ROLE OF STORYTELLING: Though cliche’, storytelling is woven into everything we do in theater. As Kir said, “Why does every culture have theater and arts? To tell a story.” We discussed whether students understand the structure of storytelling, which again, brought discussion of how today’s students may be behind in understanding material, depending on how much the student grew up reading (for comprehension) and how much exposure they’ve had to theater. Others discussed how students have tunnel vision on their own roles/parts and may not yet realize the potential to tell a story collaboratively. Jon talked about taking ourselves out of the stage and the space, and expanding it to see the story and the purpose. If we dive into the story first, seeing how each student’s part intersects, and comes together, we might reach a more authentic brand of theater with the students. At the high school level, there is a need to rush to get to the final product. But if we can take the time, it might break down the stereotype of theatre as a spectacle, rather than an art of storytelling. Terry and Laura talked about storytelling as one of the main themes of the Jimmy Awards, and in turn, the Enchantment Awards, this year. Would it be helpful if mid- and high school teachers start with the concept of storytelling?
Session 2
Sustainability in Theatrical Design
Donyale Werle champions sustainable practices in theatrical design. Because sustainability also can be very economical, she was an excellent choice to talk about how school drama programs can adopt sustainable practices and save money in the process. A graduate of UNM and NYU’s Tisch School for the Arts, Donyale won a Tony Award for Outstanding Scenic Design for Peter and the Starcatcher and is a member of the Broadway Green Alliance. Donyale also teaches in the graduate department as an adjunct theater instructor at Brooklyn College in New York City. See https://magazine.blog.brooklyn.edu/tag/donyale-werle/.
Donyale began speaking about how so much has changed in the classroom since COVID, and with regard to the climate crises. Just days before this workshop, The New York Times published an oped entitled “American Theater is Imploding Before Our Eyes.” Donyale encourages teachers to be more proactive in exploring more sustainable practices, financial and otherwise, than ever before.
In Donyale’s Tony Award winning design for Peter & the Starcatcher, all sets and props were made from refuse. Her proscenium was crafted from a wood structure with steel reinforcements and plywood, using textured fabrics and found objects. When working with “trash” it can often look like trash and you don’t want that for your student theater programs. You still want to teach and uphold the suspension of disbelief. Donyale provided may examples from her work, i.e., she used backlit and back projection onto material to create background images; she used windows from a Brooklyn bodega, tossed out from a bodega fire, in her set as well, adding gold glitter to accent; shee assembled a giant chandelier from cat food cans; she used paper bags with stenciling for wallpaper. This aesthetic is good for maximalist design.
Educators new to the scene may not know the rules, and thus, can’t break them. Essentially, there are no rules. If you don’t know the right way to do things, just be creative! The way we used to design and produce shows is no longer feasible. For example, start with small scale projects, and have your students be site specific, using only things from that specific space. Look at how objects play with other objects and how they look in the light. Build sets with Amazon boxes, pizza boxes, cereal boxes. For windows on stage, use the plastic from sushi tops or other plastic food packaging. Young people can often tap into the creativity of this type of sustainable design.
For a bare bones set within school productions, start with your space. Look around at what’s there: flats, ladders, rope, fabrics. Pull out what you already have in your space and get your stuff in the room. Get everyone to donate one piece of clothing and string them all together. Assign design challenges with cardboard and hot glue. Give the students a time limit and a competition. Between the pressure and creativity, students will come up with good ideas.
Need ideas for sets or even for getting creative and getting started? Follow designers on and off Broadway on Instagram. Donyale follows David Zung, Laura Jellinek, and Bunny Christie. Follow Donyale, and then follow her young and rising designer connections.
Students who want to pursue theater as a profession- it’s important to support them, while also instilling the hard uphill battle they may forge to get professional work.
Springboard to Design (of the American Theatre Wing) applications are due in April. Through this Tony Awards produced program, BIPOC and marginalized communities are chosen to come on an expenses-paid trip to New York City/Broadway.
Other resources:
www.broadwaygreen.com - Broadway Green Alliance. Reduce, Reuse, Reopen.
www.designaction.com - Advocating for shift on American theater design
Session 3
Achievable Ideals in Directing
We started by considering the difference between a directorial concept and a production concept, asking whether you can do a show with a production concept but no directorial concept. The response was a resounding yes, as the two can work independently.
Next we explored whether our teachers are currently doing these concepts in their shows with students, and how to come up with these concepts. Kir starts with the script and the visuals coming from her initial readings. She advised not to pick a play that doesn’t inspire you personally.
Then we discussed if there’s a reason not to share concepts with students. Again, classroom time and deadlines are often the reason that we don’t make room. Christian said he learned the hard way by giving too much creative sway to his students. Gael said she never has any problems with any design elements except costumes: teenagers are so finicky about what they’ll wear onstage. Terry suggested bringing the students into your thought process: it’s what the pros do, and will build their big picture skills. If everyone in the company knew the why, the product will be better. With everyone working toward the same conceptual goal, they have to figure out how to come together, and then it becomes art. Why not ask your students to do art?
Do you teach theater as an artform? One participant discussed separating the process (painting a picture) and the product (“the spectacle” as discussed earlier that morning). For the process, we are the “sports” of art: you have to have the talent, you must physically commit, and can’t check out. Part of the process is also positive — the pride and camaraderie, applause, and accolades. Once the show is up, it becomes the product, and is no longer in the teachers’ hands. If there’s a theme, or a concept, we’ve given them guidance. But unlike band/choir/orchestra directors and other performing arts, the conductors and instructors are still perfecting and molding the students even in performance. But as a theatre teacher, you have to trust and hand it all over to your students. You must have imparted the vision and then given the students ownership.
Gael gave a great suggestion for what to say when students start directing each other: “There’s a time and a place, and we all have a lot of great ideas, and each of you will have them, but don’t bring those up in rehearsal. Come to me outside rehearsal and we can discuss these ideas.”
We worked on staging a short scene from A Funny Thing Happened on the Way to the Forum. We worked on what each character needed or wanted, and when they needed or wanted it. That drove a lot of blocking/staging decisions. The blocking progressed organically as teachers stood and took roles, but could just have easily been determined ahead of time with the same impetuses. Emotions derived from characters discovering information in the moment drove the immediate needs/wants. Comedy arose from the manifestation of the needs and wants of the characters — such as Hysterium literally inserting himself between Hero and Philia to keep them apart — and from the conflicting goals of the characters.
We concluded with some quick ideas about teaching audition skills to young actors and some of the requirements of an audition, such as the difference between a 16-bar cut and a 32-bar cut. Teachers seemed to agree that having some lessons about auditions available for students or including audition skills as part of their own curricula would be helpful. Several referenced Brian Cranston’s advice about auditions that has been circulating on social media.
Session 1
Preparing Students for College-Level Study
READING: While it has long been difficult getting college students to read their assignments, regardless of the course of study, reading and preparedness is necessary for students to contribute to class discussion. Students don’t read their emails, let alone assigned reading. How can we get information to them when their attention spans are much shorter as they are accustomed to communication via short sound bites, text, and videos on social media. Professors look to high school and even mid-school teachers to stress the importance of reading early-on in their education. Dale talked about his experience in mid-school, going to UNM to see a play, getting a tour, and learning early-on that if you work to get the grades, and follow the path, you’ll get access and admission to college. It’s important to give students the support to understand there is opportunity through studies, career development, and experience.
INVESTING IN OUR YOUTH: Many of our students saw their first plays in community theater and university productions. This exposure helps the younger kids “get the bug” and to learn and set academic goals. How can we make room in our curriculum for connection between mid-school and universities, through field trips, workshops, etc.? It would be helpful for universities to showcase their theater programs to community programs and mid- and high schools. Several universities are already doing this, and Jon, Wil, and Kate all agreed they would travel to do master classes in high school programs. Universities can go to mid- and high schools; high school kids can do shows for the elementary kids, and mid-school kids can do shows for kindergarteners. It’s the long game, but eventually it will pay dividends.
NEWCOMERS: On the contrary, beginners are also welcome in most college theater programs. No auditions are required for admission to many college theater programs; as long as the students meet the requirements for general admission. UNM theater department holds auditions the first week of school for the semester’s plays.
AUDITION PROCESSES: Another area in which students could use more instruction prior to college is familiarity with the audition process. Many students are unprepared for auditions, and unfamiliar with the language of auditions (i.e., when asked to prepare 16-32 bars of a song, they have no frame of reference [32 bars is about a minute; 16 is 30 seconds]). Other issues include coming with no sheet music for the accompanist, bringing tracks, not knowing how to guide an accompanist, and not memorizing monologues, and students doing impersonations of actors in movies. Students should be versed in the audition as a formal presentation, including greetings, composure, and not making excuses for poor performance. Lesson planning around the audition process, as well as “how to memorize” (hard work; takes time) will help as well.
ACTING vs. TECH: We need to encourage students to study all aspects of theater and build an understanding of the balance that is necessary in the profession. In fact, there are more professional jobs in technical fields (i.e., costumes, stage managing) than there are in performing, and this can be an important distinction to make earlier in students’ theatrical pursuits. Often, students want to do everything, join every organization, do all performing arts programs available, with their theater involvement focused only on acting. Gael requires her actors to also serve on the technical crew to gain more balance and perspective.
TOXIC BEHAVIOR: Drama programs can be a natural fit to work with students and their attitudes, habits, and behaviors in contributing to a team. We discussed how gossiping, complaining, and other toxic behavior that exists in young (dramatic) people is more prevalent since COVID. It seems students went online and unlearned how to be respectful of one another in person. The isolation and uncertainty have caused a mental health breakdown globally. It’s also difficult to work with students who think they know everything. How can we work to weed out this toxicity? Or at least foster self-awareness and discourage such behaviors as immature and a waste of time for learning and collaborating.
TIME MANAGEMENT: Time management is an important skill many students haven’t yet tackled independently before their undergraduate studies. Stressing to arrive early and prepared is paramount, as the old saying goes, that early is on time, on time is late, and if you’re late, you’re fired. Professors would rather have students practicing these skills, habits, and theater norms early, so that colleges can teach material rather than babysit.
DIVERSITY/INCLUSION: We also discussed the challenge of diversity on stage, and particularly in musicals. We can see the lack of diversity even in our own Enchantment Awards. Many of our NM undergraduate students are first generation college students, often with no generational wealth. Many of our diverse students come from strong family units, with strong values where activities outside the home or the family are superfluous. Theater can be seen for many students as an unattainable pipedream. Others may dream of working in theater, but feel they need to pursue “success” and stability in other professions. Kate expressed that many students, especially 1st generation, are nervous to get involved in the theater department, but student organizations like UNM’s SCRAP Productions encourage participation and confidence.
CURRICULUM: The teachers, many of whom are currently building their school’s theater programs, also discussed sharing ideas amongst one another for structured play and how to make other classroom exercises fun.
CHOOSING A PROGRAM: Jon stressed that for success in the arts, 2-year community college can be a difficult transition. With the affordability of New Mexico’s four-year public schools, it’s better to have the growth and continuity from a 4-year program, than to pursue the arts in a 2-year degree program.
ROLE OF STORYTELLING: Though cliche’, storytelling is woven into everything we do in theater. As Kir said, “Why does every culture have theater and arts? To tell a story.” We discussed whether students understand the structure of storytelling, which again, brought discussion of how today’s students may be behind in understanding material, depending on how much the student grew up reading (for comprehension) and how much exposure they’ve had to theater. Others discussed how students have tunnel vision on their own roles/parts and may not yet realize the potential to tell a story collaboratively. Jon talked about taking ourselves out of the stage and the space, and expanding it to see the story and the purpose. If we dive into the story first, seeing how each student’s part intersects, and comes together, we might reach a more authentic brand of theater with the students. At the high school level, there is a need to rush to get to the final product. But if we can take the time, it might break down the stereotype of theatre as a spectacle, rather than an art of storytelling. Terry and Laura talked about storytelling as one of the main themes of the Jimmy Awards, and in turn, the Enchantment Awards, this year. Would it be helpful if mid- and high school teachers start with the concept of storytelling?
Session 2
Sustainability in Theatrical Design
Donyale Werle champions sustainable practices in theatrical design. Because sustainability also can be very economical, she was an excellent choice to talk about how school drama programs can adopt sustainable practices and save money in the process. A graduate of UNM and NYU’s Tisch School for the Arts, Donyale won a Tony Award for Outstanding Scenic Design for Peter and the Starcatcher and is a member of the Broadway Green Alliance. Donyale also teaches in the graduate department as an adjunct theater instructor at Brooklyn College in New York City. See https://magazine.blog.brooklyn.edu/tag/donyale-werle/.
Donyale began speaking about how so much has changed in the classroom since COVID, and with regard to the climate crises. Just days before this workshop, The New York Times published an oped entitled “American Theater is Imploding Before Our Eyes.” Donyale encourages teachers to be more proactive in exploring more sustainable practices, financial and otherwise, than ever before.
In Donyale’s Tony Award winning design for Peter & the Starcatcher, all sets and props were made from refuse. Her proscenium was crafted from a wood structure with steel reinforcements and plywood, using textured fabrics and found objects. When working with “trash” it can often look like trash and you don’t want that for your student theater programs. You still want to teach and uphold the suspension of disbelief. Donyale provided may examples from her work, i.e., she used backlit and back projection onto material to create background images; she used windows from a Brooklyn bodega, tossed out from a bodega fire, in her set as well, adding gold glitter to accent; shee assembled a giant chandelier from cat food cans; she used paper bags with stenciling for wallpaper. This aesthetic is good for maximalist design.
Educators new to the scene may not know the rules, and thus, can’t break them. Essentially, there are no rules. If you don’t know the right way to do things, just be creative! The way we used to design and produce shows is no longer feasible. For example, start with small scale projects, and have your students be site specific, using only things from that specific space. Look at how objects play with other objects and how they look in the light. Build sets with Amazon boxes, pizza boxes, cereal boxes. For windows on stage, use the plastic from sushi tops or other plastic food packaging. Young people can often tap into the creativity of this type of sustainable design.
For a bare bones set within school productions, start with your space. Look around at what’s there: flats, ladders, rope, fabrics. Pull out what you already have in your space and get your stuff in the room. Get everyone to donate one piece of clothing and string them all together. Assign design challenges with cardboard and hot glue. Give the students a time limit and a competition. Between the pressure and creativity, students will come up with good ideas.
Need ideas for sets or even for getting creative and getting started? Follow designers on and off Broadway on Instagram. Donyale follows David Zung, Laura Jellinek, and Bunny Christie. Follow Donyale, and then follow her young and rising designer connections.
Students who want to pursue theater as a profession- it’s important to support them, while also instilling the hard uphill battle they may forge to get professional work.
Springboard to Design (of the American Theatre Wing) applications are due in April. Through this Tony Awards produced program, BIPOC and marginalized communities are chosen to come on an expenses-paid trip to New York City/Broadway.
Other resources:
www.broadwaygreen.com - Broadway Green Alliance. Reduce, Reuse, Reopen.
www.designaction.com - Advocating for shift on American theater design
Session 3
Achievable Ideals in Directing
We started by considering the difference between a directorial concept and a production concept, asking whether you can do a show with a production concept but no directorial concept. The response was a resounding yes, as the two can work independently.
Next we explored whether our teachers are currently doing these concepts in their shows with students, and how to come up with these concepts. Kir starts with the script and the visuals coming from her initial readings. She advised not to pick a play that doesn’t inspire you personally.
Then we discussed if there’s a reason not to share concepts with students. Again, classroom time and deadlines are often the reason that we don’t make room. Christian said he learned the hard way by giving too much creative sway to his students. Gael said she never has any problems with any design elements except costumes: teenagers are so finicky about what they’ll wear onstage. Terry suggested bringing the students into your thought process: it’s what the pros do, and will build their big picture skills. If everyone in the company knew the why, the product will be better. With everyone working toward the same conceptual goal, they have to figure out how to come together, and then it becomes art. Why not ask your students to do art?
Do you teach theater as an artform? One participant discussed separating the process (painting a picture) and the product (“the spectacle” as discussed earlier that morning). For the process, we are the “sports” of art: you have to have the talent, you must physically commit, and can’t check out. Part of the process is also positive — the pride and camaraderie, applause, and accolades. Once the show is up, it becomes the product, and is no longer in the teachers’ hands. If there’s a theme, or a concept, we’ve given them guidance. But unlike band/choir/orchestra directors and other performing arts, the conductors and instructors are still perfecting and molding the students even in performance. But as a theatre teacher, you have to trust and hand it all over to your students. You must have imparted the vision and then given the students ownership.
Gael gave a great suggestion for what to say when students start directing each other: “There’s a time and a place, and we all have a lot of great ideas, and each of you will have them, but don’t bring those up in rehearsal. Come to me outside rehearsal and we can discuss these ideas.”
We worked on staging a short scene from A Funny Thing Happened on the Way to the Forum. We worked on what each character needed or wanted, and when they needed or wanted it. That drove a lot of blocking/staging decisions. The blocking progressed organically as teachers stood and took roles, but could just have easily been determined ahead of time with the same impetuses. Emotions derived from characters discovering information in the moment drove the immediate needs/wants. Comedy arose from the manifestation of the needs and wants of the characters — such as Hysterium literally inserting himself between Hero and Philia to keep them apart — and from the conflicting goals of the characters.
We concluded with some quick ideas about teaching audition skills to young actors and some of the requirements of an audition, such as the difference between a 16-bar cut and a 32-bar cut. Teachers seemed to agree that having some lessons about auditions available for students or including audition skills as part of their own curricula would be helpful. Several referenced Brian Cranston’s advice about auditions that has been circulating on social media.