Incorporating Teaching Strategies into Your Musical Theatre Production

Abstract: This session will present concepts and suggestions to help educators make the process of producinga musical an educational experience that allows students to grow in sight-reading, musical analysis, andleadership.

I. Choosing the musicalA. Criteria

1. Level of studentsi. Age-appropriateii. Available cast members

a. All women? Unchanged voices for men?2. “Teachable aspects”

i. Ranges and style appropriate to age groupii. Opportunity to allow students to interpret their characters and songsiii. Are there sections where your core curriculum focus can be implemented during the

rehearsal process?a. Solfege/sight-readingb. Rhythmic elementsc. Projection of sound/breathing foundations

iv. Level of orchestra parts to allow students to be members of the pit orchestraa. Are the parts able to be “revised” to allow students to participate?

3. Suggestions for specific age groups and levelsi. Outline of cast requirements, big dance numbers, technical considerations, and staging

limitations

II. Preparation for auditionA. Assist everyone in preparing for the audition by incorporating the process into regular rehearsals

1. Each student should choose a piece for auditioni. Helpful criteria and suggestionsii. Good experience to work with an accompanistiii. Use “buddy system” and pair up students to help coach each other

B. Interdisciplinary1. Ask for assistance from the English/communications departments and bring them in as special

guests for choosing of monologues and coaching2. Have students present historical background on their piece

i. Era, what is happening historically, what is happening in the play during this time, whatis their character like

3. Have “mock” auditions to help preparei. Outline etiquette for auditionees

a. Preparation of music for accompanistb. Polite and professional introductionc. Music selection and monologue memorized

III. RehearsalsA. Implement solfege and sight-singing when teaching parts, both for solos and chorus sectionsB. Work on foundational breathing concepts to allow students to project with a healthy and supported

tone throughout the whole rehearsal and performance processC. Allow enough time for students to be successful and thoughtful in their progress without feeling

rushed1. Music should be solidly learned with good technique before implementing choreography

i. Still focus on supported singing and foundational breathing during choreographysessionsa. Don’t allow cast to sing “off the breath” because they are learning or dancing

D. Pit orchestra1. Begin rehearsing small sections of the show each day

i. Focus on foundational rhythmic and stylistic concepts during the daily rehearsalsa. Example: Once on this Island: Introduce Caribbean rhythms in class during

warm-upsb. Bring in steel drum ensemble to demonstrate style and rhythmic elements

2. Range or technique challengesi. Look over parts for challenges

a. Possibility of re-writing a simpler line?b. Bring in an adult player as a mentor and have both players for the show. This

will usually be very successful for lead trumpet and first violin partsE. Student Responsibilities and Leadership

1. Outline of all rehearsals and other meetings needs to be presented at the beginning of theprocessi. For castii. For lead rolesiii. For orchestraiv. For technical staff

a. Designer run-through, approximately three weeks before opening: run the entireshow and have the artistic and technical directors watch. This will clear upmany of the miscommunications very quickly!

2. Student contracti. Expectationsii. Guidelines for rehearsalsiii. Goals

3. Student leadership rolesi. Artistic staff

a. Sectional leaderb. Sectional accompanistc. Assistant directord. Choreographer/dance captaine. Pit orchestra assistant

ii. Technical staffa. Assistant stage manager

1. Rehearsal and performance reportsb. Lighting assistantc. Stage designd. Props

IV. PaperworkA. Audition preparation packets

1. References for monologues, songs, and synopsis of shows2. Guidelines for auditionees

i. Can hold “mock auditions” or have a clinic to help students prepare for auditionB. Welcome packet

1. Full schedule of rehearsals and when cast members, orchestra, and technical staff need to bepresent

2. Conflict sheet3. Welcome letter

i. Introduction of artistic and technical directors4. Production volunteer form5. Actor bio6. Student/parent contract7. Parent release form (if there are shows during the school day OR you plan on traveling

somewhere)C. Examples

V. Legal IssuesA. Make sure that you are following the guidelines for the proper rental/rights to your musical

1. Give yourself ample time to choose a work and contact the leasing company2. Read all of the contract and set your schedule according to when you can get orchestral parts,

etc.3. Make sure to present the information of the show according to the contract (credit line)

i. “The show presented with consent from Samuel French,” etc.

VI. Suggested ShowsA. Easily accessible

The Boyfriend (dance)The FantasticksGodspellJoseph and the Amazing Technicolor DreamcoatOklahoma!ScroogeShe Loves MeWonderful TownYou’re A Good Man, Charlie Brown

Ensemble castBrigadoonBye Bye BirdieCamelotDamn Yankees (requires a lot of boys!)DroodGuys and DollsHMS PinaforeInto the Woods (requires very advanced musically thinking cast)Li’l AbnerSeven Brides for Seven BrothersThe WizOnce Upon a Mattress

Strong male leadBarnumFiddler on the Roof42nd Street (big dance show)Jesus Christ, SuperstarThe Music ManWill Rogers Follies

Strong female leadAnything GoesHello, Dolly!Once Upon a MattressThe Sound of MusicKiss Me, Kate

Small-cast musicalsThe FantasticksGodspellLittle Shop of HorrorsYou’re a Good Man, Charlie Brown

VII. ResourcesA. Music resources

Tams-Witmark Music Library560 Lexington Ave.New York, NY 10022800-221-7196

Music Theatre International421 West 54th St.New York, NY 10019212-545-4684www.mtishows.com

Dramatic Publishing Co.311 Washington St.Woodstock, IL 50098815-338-8081plays@dramaticpublishing.com

Rodgers and Hammerstein Music229 W. 28th St., 11th FloorNew York, NY 10001800-400-8160www.rnh.com

Samuel French45 West 25th St.New York, NY 10010212-206-8125

Theatre Maximus1650 Broadway, Suite 601New York, NY 10019212-765-5913

B. Costume rentals and suppliesTheatre House, Inc.400 West Third St,Covington, KY 41012-2090

Norcostco3203 N. Highway 100Minneapolis, MN 55422

Works Consulted

Barton, Lucy. Historic Costumes for the Stage. Boston: Walter H. Baker Company, 1935.

Corson, Richard. Stage Makeup. 8th ed. Boston: Allyn and Bacon, 1990.

Filichia, Peter. Let’s Put On a Musical! New York: Avon Books, 1993.

Franklin, Miriam A. Rehearsal. Englewood Cliffs, NY: Prentice-Hall, 1963.

John, Malcom, ed. Music Drama in the Schools. London: Cambridge University Press, 1971.

Kybalova, Ludmilla, Olga Herbenova, and Milena Lamarova. Pictorial Encyclopedia of Fashion. New York:Paul Hamlin, 1966.

Mitchell, Larry. A Practical Handbook for Musical Theatre, featuring 101 Musicals. 4th ed. ,Comedia Publishing, 2000.

Mullin, Michael, Mary Fernald, and Eileen Shenton. Designing and Making Costumes (Revised).New York: Watson-Gurtill, 1992.

Novak, Elaine Adams. Performing in Musicals. New York: Schirmer Books, 1988.

Swinfeld, Rosemarie. Stage Makeup Step by Step. Betterway Publications, 1995.

Walsh, David and Len Platt. Musical Theatre and American Culture. Westport, CT: Praeger Publishers, 2003.

Young, David. How to Direct a Musical: Broadway Your Way. New York: Routledge Publishing, 1995.