Theatre Education

What Highschool Theatre Taught Me

Amelia Brooker

Preparing to graduate high school, I am looking back on the moments that shaped me through the last few years. The most vivid memories, the times that have stuck with me, are those spent with my high school theatre company.

High school theatre taught me to sing, dance, and act, but also taught me so much about myself and my relationship with the world around me. Some of the best lessons do not have to do with theatre specifically, but how to succeed in general. The following are five of the best lessons I learned in high school theatre, which are ideal for both students entering this sphere, as well as anyone entering a new area of life.

1. Do not hold anything back

Looking back on my theatre experience, my biggest regret is not pushing myself further. Whether it comes from self-consciousness or lack of experience, it is easy to hold back in some areas. Giving anything less than one hundred percent will inhibit you as you move forward. You might not have any dance experience but seek help and practice. You might be bad at improv but give it a try and hope for the best. Nothing but good will come of pushing yourself outside of your comfort zone.

2. Avoid the drama

What do you get when you put a few dozen of the most dramatic kids in school together in one room, for five, ten, fifteen hours a week? And then have them compete for roles? Even the closest and kindest groups of theatre kids will get on each other’s nerves once in a while. The best advice I can give is to stay out of it completely. Do not spread rumors, criticize other performers, or give in to any drama. You’ll be happier if you stay out of it all.

3. Be a team player

Theatre is a team sport. Even a small-scale production requires dozens of people to fulfill all the necessary requirements. You will need to work with all kinds of people who have different ideas, points of view, and levels of experience. Listen to others’ ideas with an open mind, speak with kindness, and treat everyone equally. Trusting the people you work with is of the utmost importance in theatre, whether it be actors, directors, stage managers, or crew. Because in such an unpredictable environment, strong and trusting relationships will take your far.

4. Adaptability is your best asset

To build off the last point, working with others sometimes requires compromise. You might disagree with how a director wants to do something or have a discrepancy with another actor or crew member. The choreography might change the week before the show, or a new rehearsal be added last minute. Live theatre is fast-paced and unpredictable, so going with the flow is always the best option. Being able to adapt to a new situation or rise to the occasion will serve much better than fighting it.

5. Be present and enjoy yourself

It is no secret that doing theatre on top of the regular stresses of high school can be difficult. Like any other class or activity, it requires you to put your best foot forward in order to succeed. However, the memories you make and the relationships you build will make it all worthwhile. Through the early morning and late-night rehearsals, quick trips for food before rehearsals. and bonding over show runs, theatre can be some of the best times of your high school life. Enjoy every burst of laughter, every piece of fun choreography, every song you get to belt out with your friends. Create an atmosphere of positivity and creativity and be your authentic self. Do everything you can so that in the future, you can look back and smile.


How to Succeed in Performing Without Really Trying

Elizabeth Bergmann

Three years ago, at the 2016 Tony Awards, James Corden sang about how seeing a show makes us say "That could be me!" When I was a freshman in high school, I was cut from the volleyball team and needed a new activity to fill my fall semester, so my band squad leader suggested the fall play. In the summer of 2018, I talked my whole family (Mom, Dad, and younger brother) into doing The Music Man with my community theatre family. We all have different ways that we find ourselves wanting to enter the world of theatre. Maybe a local group is doing one of your favorite shows, or a friend keeps insisting you should do a show together (I am this friend).


Whatever the reason, providence seems determined to get you in a show. If you’re brand-new, from a non-theatre family, and generally haven’t done anything except those school plays about bullying and the seasons, you have no clue what you’re getting into. The idea of auditioning for a big show can be terrifying. People throw out words like “blocking” and “dramaturge” and you have no clue what they’re talking about. With no single source of all this information available up to this point, I’ve decided to become that single source myself. I plan to focus on auditions for musical theatre, mostly because those tend to be the most complicated, but aspects of it will apply to auditioning for plays, as well. So, if you have no clue where to start, why not start here?


Where do I find a group to do a show with?

There are lots of Facebook groups for different theatrical groups and communities. I’m lucky enough to currently be in two groups that cater to my area, but local news sources and postings can let you know what is in your area. There may even be smaller groups that you rarely hear about looking for fresh talent! I found my community theatre family pretty much by accident: they rehearse in the same community center where I was taking dance classes. If you know people who perform, ask them where. If you’re a student, look for your school’s program. Find out which shows these groups are doing, and check when they rehearse. What’s the cast size? Can you be at rehearsals? If it looks like you’d be able to be in this show, audition!


What do I do to get ready for auditions?

The first thing I like to do when considering auditioning for a show is research. Who wrote the show? What is the basic story? What style of music is it? Are there any characters you’d like to play? I tend to accidentally memorize shows, but general familiarity will be your best friend. You need to know what you’re getting yourself into (a girl quit a Guys and Dolls production I was in because she suddenly discovered it could be a little sexist), and this will also give you a baseline for your audition. The audition description will tell you if you need to prepare a monologue, a song, or anything else. Monologues should fit the tone and time period of the show you’re auditioning for. Pick a song that you know you can sing well no matter what condition your voice is in. I personally don’t recommend a song you don’t know too well, but also try to avoid cliché audition songs (that’s a whole other article, ask theatre friends and/or Google if you aren’t sure). The song should ideally be in the style of the show, so do a pop song for a pop show, a classical song for a classical show, etc. Be sure to have sheet music, or a karaoke track, or whatever else they might say you need to supply. Plan out an audition outfit (again, a whole other article), and make sure it’s not too specific and you can move in it.


What do I do once I get to auditions?

Show up a little early so you can fill out any forms, turn in sheet music, whatever you need to do before you get up and sing. As you fill out the form, be honest about any conflicts so they can make a rehearsal schedule. If they ask if you want a specific role, put it down. Since you’re just starting out, I highly suggest putting that you’d be willing to play any role and that you’ll take an ensemble role. Ensemble is a great place to start, and directors often like to see that you’re not just here for the one role you specifically auditioned for. After you turn in the form, you’ll usually be singing. You might sing in front of just those casting, you might be in a small group, or you might be singing in front of everybody. If you have an accompanist (pianist), let them know what sections you’re singing and the tempo you’d like to sing it at. You might be asked to introduce yourself, usually by giving your name and the song you’re singing. As you sing, try to act while you perform your song. If it’s a happy song, show that you’re happy, if it’s sad, be sad-- you get the idea. Once everyone has sung, you may be asked to dance a little, or to do “cold reads” from the script (perform a scene with little to no practice time). Take whatever they throw at you and give it 100% effort. You might get called back, you might not, but make sure they’ve seen that you can do a lot with whatever you’re given.


What happens after auditions?

The cast can be announced in a number of ways. You might receive a phone call or an email, there could be a website, a Facebook page might be set up, etc. A lot of groups may ask that you respond to accept or decline a role (I cannot emphasize enough how important it is to be prompt in responding).You’ll likely receive a date for a read-through and a rehearsal schedule, which you’ll want to put in your calendar as soon as possible. You’ll receive either a separate script and score or a full libretto. You’ll want to check and ask if you can use highlighters or if it’s pencils only for marking it. GUARD YOUR SCRIPT. Bare minimum, write your name in the front cover so people know it’s yours. Script thieves are everywhere, and your name in it means you can get it back.


What should I do in rehearsals?

Up until tech week, rehearsals will be just about learning and perfecting the material. You may or may not be rehearsing in the space you’re performing in. You’ll take this time to learn music, dances, and any lines or blocking you’ll need to know. Show up to rehearsal on-time, and don’t be afraid to ask questions! Your fellow actors, your director, and especially your stage manager are all there to help and support you. Write notes for blocking (movement while acting), choreography, and music so you don’t forget them. If someone asks a question about costumes, shoes, hair, or makeup, listen for the answer (and I’ll tell you more later).


What’s this “tech week” people talk about all the time?

“Tech week” is the last week of rehearsals before the show opens. It’s dedicated to incorporating the technical elements into the show, hence “tech week.” You’ll be in the performance space, and these will be the longest rehearsals you’ll ever experience. You’ll likely be called earlier and kept later. In addition to technical elements (lights, sound effects, microphones, etcetera), your show’s band/orchestra will appear (if there is one) and you’ll be in costume with hair and makeup done. These rehearsals are meant to perfect runs of the show so it’s ready by opening. You’ll likely get notes each night, and you’ll want to write these down and implement them. Everybody will be stressed and tired, so make sure to take care of yourself and have patience. Maybe give something nice to your stage manager so they don’t go insane.


You keep talking about costumes, hair, and makeup. What do I need to do for that?

Each theatre group is different. You might be supplying your own costume, or they might have them for you. You should learn what you need to supply from the production team, but don’t be afraid to ask. As a good base, it might be wise to invest in character shoes if you play lady roles, black dress shoes if you play man roles, and jazz shoes either way. Each production has different visions, but these shoes usually work no matter what time period you’re in. As for hair, you might be doing your own or someone might be doing it for you. This depends on the group. If you are doing it yourself, ask for what it should look like for the show. Wigs might be involved depending on the show.


Now, makeup. I know some groups will have other people doing your makeup, but I’ve always done it for myself. If you are doing it yourself, everybody has their own preferences for how they do it. Some shows will require bright colors or wrinkles or something drastic, but a lot of shows are fairly simple. My advice: Your face, but bigger. I recommend foundation to even out your skin, concealer for under your eyes, blush to give you some color, and eyeliner & mascara to bring your eyes out. If you’re an eyeshadow and lipstick person, use nude browns on the eyes and pick a lipstick that looks natural (unless this is a time period where red was the color of choice). Apply a little more of everything than you would for every day. The whole purpose of stage makeup is to ensure your face looks good from the back row of the theatre. Ask your castmates for help if you’re not sure how much is too much.


What should I expect from performances?

Things will go right, and things will go wrong. The whole atmosphere of a show is different when there is an audience there with you. The important thing is to not add things once the show opens. You’ll be tempted to push for laughs or try something new, but don’t do it. Make sure you’re paying attention to the show so you don’t miss your cues. Enjoy the applause and feed off the audience to keep your energy up. There is nothing more thrilling than performing for a great audience. You’ll likely get to greet the audience after curtain call, so take that opportunity to thank everyone who came to see you.


What happens when the show ends?

A lot of groups need help striking the show after, so be sure to stay and help with that. There will likely be a cast party that you should definitely attend. You’ll probably be sad, and your time will feel a lot emptier without rehearsals in there. But that just means you can look forward to the next show! Not many people can stop after just one.


I hope you’ll find your home in the theatre. It has been the best family I could ever ask for, and it really will fill you with a joy that nothing else can create. Welcome home! We're glad to have you!

Majoring in Theatre: Picking a College

I’m not sure about you, but when someone asks me what I plan to major in and I say theatre, nine times out of ten the response (if it’s not disdainful or some variation of “you can actually do that?”) is something along the lines of “Ooh, like Juilliard?” And then when I say “no, there are more theatre programs and drama schools out there besides Juilliard”, they say “but you still plan to apply to Juilliard, right? I mean it’s the best, right? You have to apply to the best.” Eventually, it really does start to wear you down and almost make you doubt – am I really applying to the right places?

First off, I must acknowledge that any response to such a question, and any further questions inspired by it, is one entirely of opinion – based off knowledge, experience perhaps, but still an opinion. However, this is an opinion article, so while I urge readers not to take my word as anywhere close to fact or final judgment (I’m a student like all of you; I don’t have any authority to make such audacious pronouncements) I do wish to share my thoughts on the matter to perhaps start an open discussion.

Photo by HsinJuHSU/iStock / Getty Images

Photo by HsinJuHSU/iStock / Getty Images

What is the right or the best school or program for one to apply to anyway? After all, everyone’s heard the old sayings and stories about Tisch, Juilliard, RADA and LAMDA. Everyone’s seen the ‘top 10’ and ‘top 25’ rankings out there on the internet citing big names like Carnegie Mellon, Cincinnati College-Conservatory of Music, University of Michigan and more. Everyone else says these are the best schools – that these are the places which you should be sending your applications to. But what makes them so ‘good’ in the first place?

Some like to rate schools and programs on metrics such as the amount of Broadway or West End stars they’ve produced, arguing that such statistics clearly indicate that certain schools have better, higher quality, and more effective instruction. You’ll often find many a senior high school student looking at theatre programs gawking at the statistics and staring in awe at the amount of graduates this or that school or program are currently on Broadway or the West End, and perhaps more often you’ll find many an admissions officer or counselor touting their school’s ranking as ‘number two for number of graduates currently employed on Broadway’ in an attempt to sell their program to potential applicants. However, do such statistics really indicate the quality of instruction of a given program? After all, adherents of well-known ‘top’ schools like to argue they do, while proponents of more ‘unknown’ schools (and I don’t mean that in an offensive manner, I simply use the term to refer to theatre programs/schools which the public tends to be less aware of) usually offer the counterargument that a school’s performance on this or that ranking system or metric doesn’t actually say anything about the quality of instruction and/or the faculty, often offering anecdotes or stories of experiences where specific teachers, coaches or instructors from their program or school helped them achieve their true potential, perhaps contrasted with a more negative experience from a ‘good’ teacher from a ‘top’ program.

I believe both arguments have some degree of merit. No matter what one may believe to be the ‘actual’ quality of instruction of a theatre program or school that is relatively well-known or that is often considered ‘one of the best’, the fact remains that their reputation in the public eye and awareness of them within the general public and the industry remains significant. Perhaps ‘bigger and better’ programs simply have the clout to hire or attract staff, particularly those in high demand (think veteran actors with multiple Broadway credits under their belt), in ways smaller and lesser-known programs simply may not be able to. Considering that, maybe it might make sense to argue that the ‘top’ schools and programs might have better faculty and thus perhaps better instruction. Yet, it would be disingenuous to say that top schools must have better faculty and hence instruction than other programs. There are many more factors that go into a teacher’s decision to join a certain school or a school’s decision to hire a teacher than merely name or reputation, and, of course, there are an abundance of incredible teachers teaching everywhere from the highest ranked schools in the industry to the new and unknown programs accepting their first batches of students.

And in regards to rankings themselves – just as it would be logical to argue that top schools attract better teachers, I argue that it is equally logical to argue that they simply attract better students – that their reputation or their name brings the best of the best to their doorstep already, as in those students with such great talent and potential that they would already be a step ahead on the road to the Great White Way. In that way, perhaps such metrics are a self-fulfilling prophecy – higher-ranking schools get students who are more likely to succeed, helping boost their rankings, and so forth. And yet, that says absolutely nothing about whether the instruction one themselves would receive should they go to said school would actually help them succeed, whether the instruction they’d receive at Juilliard or Tisch or CCM would actually allow them to exploit their own potential to the fullest and give them specifically the best shot at a successful career. Some students thrive in a conservatory environment, others in a more liberal arts oriented program; some might do well with academic programs, using the knowledge they learn in the classroom to good effect in guiding their careers, their performances and their passion, while others might do better with more training-oriented or practical programs, learning through experience how to truly utilize their skill and potential as a performer. And you can’t tell any of that from rankings and metrics.

At the end of the day, I say it’s nigh-impossible to judge the quality of a specific school’s faculty from rankings or hearsay. The saying “one man’s trash is another man’s treasure” comes to mind – I say that we students should look upon rankings and metrics and recommendations and opinions with a pinch of salt, that we should make our own judgments, visit campuses and talk to staff and faculty of prospective programs ourselves to make the best decisions for our own careers, to find the best fit for ourselves so that we can pursue our passions as best as we can and be able to truly enjoy making art in the process.