My Favorite Dream: Writing With Love and Zest

Greetings, ladies and gentlemen, and welcome to Theater is a Sport, back after spring break.  My name is Bobby Keniston, and this is my own little piece of the internet where I talk about whatever's on my mind in the realm of theater.

Recently, I've been re-reading a great deal of Ray Bradbury and watching old interviews with him on YouTube.  What stands out most about this prolific writer (who not only wrote novels and short stories, but many plays and screenplays as well) is his incredible zest for writing and for life, and how he constantly used one to fuel the other.  To him, writing was inspired play, and he kept the words "Don't Think" taped above his typewriter to remind himself the importance of trusting his intuition and subconscious.

For those who are not familiar with Ray Bradbury, he was the great mind behind such books as Fahrenheit 451, The Martian Chronicles, Dandelion Wine, The Halloween Tree, Something Wicked This Way Comes, and over 300 published short stories.  He wrote a number of plays, one of my favorites being The Wonderful Ice Cream Suit, and wrote the screenplay for John Huston's classic film adaptation of Moby Dick.

Here's the man himself, Mr. Ray Bradbury

I have been trying to write like Mr. Bradbury lately.  No, I don't mean by copying his style or his themes or plot ideas--- I mean, I have been trying to reconnect with the youthful sense of play in an attempt to write with zest again.

It's not always easy.  Writing can be difficult.  It's frustrating when the words won't come, when a sentence or a line of dialogue doesn't read the way you want it to, when you simply can't seem to communicate your thoughts, or when the tank seems completely empty, devoid of any ideas one could possibly care about.  

When this happens, one could do worse than to follow those two words of advice taped up on Mr. Bradbury's desk:  DON'T THINK.

While writing certainly flexes intellectual muscles, it is truly at its most rewarding when it is an emotionally engaging experience.  When the play or story you want to write comes flying out, and you laugh, love, and cry along with it.  If you have this investment, it is a safe bet that an audience may as well.  

When you're deep in the act of creation on a first draft, it is often beneficial to surf the tidal waves of inspiration and intuition, even if they seem dangerous.  Especially if they seem dangerous.  Too much thinking can kill a project before it has started to live.  Don't let that happen.  Remember, your brain is always there to switch back on for the act of rewriting.  

I can't tell you how many times I have to tell my mind to shut up (even now, writing this blog post, I've had to shush it more than once).  Every now and then, I close my eyes, take some deep breaths, and invite my characters to talk to me.  I visualize them, ask them questions.  They don't often steer me wrong.  Ray Bradbury once said that there is no need for writer's block, so long as you are willing to listen to your characters and your subconscious mind.  The more I read his work, the more I believe he is right.

So each day, for a few weeks now, I approach my notebook or computer, not with a sense of worry about what may come out today, but with a joyful anticipation of what I am going to create.  I am recapturing the "play" in "playwright".  

And I thank you, Ray Bradbury, for the inspiration.  

REMEMBER:  WHEN IN DOUBT, JUST STOP THINKING!  Breath, relax, and tell the story that needs to be told.

To learn more about my plays, CLICK HERE,  OR HERE, OR HERE, OR FINALLY HERE.

I've started a new blog!  I am writing a story a day for a year!  Each story will be between 100-250 words!  If you would like to read and follow, you can do so by CLICKING HERE.  

OPENING NIGHT

The Marquee

For the last seven weeks or so, my energies have been largely given to directing a production of "The Jungle Book", an adaptation by Vera Morris (one of the many pseudonyms for the prolific Tim Kelly), available through Pioneer.  Tonight is opening night.

I don't know about other directors, but, for me, a rehearsal process can feel like a lifetime, but, no matter what, when we get to opening night, it always seems to have blown by. Opening night really is a night for directors to freak out--- after all, aside from a few last notes and a pep talk, there is absolutely nothing we can do.  

The venue for this production is in my hometown of Dover-Foxcroft, ME, at a lovely place called the Center Theatre.  SOCP, the group attached to the theater that produces plays in-house, is an abbreviation for "Slightly Off-Center Players".  And this production is put on specifically for children performers to be a part of.  No adults in the cast whatsoever (though, one of the teenagers in the group is very close to eighteen).  I have children from the ages of 3-17 in the show, with most being in 9-12 area.  I've never done a play with that had one as young as three (as well as a five year old in the cast, too), and this play has presented new and interesting learning opportunities for me.  

I am, of course, proud of the kiddos hard work throughout this process.  It's not always easy being in a play, sitting still for direction, and focusing energy on the task at hand as opposed to letting fly in all directions.  In a sense, I have watched the play go from chaos, and evolve into the shape of what a play should be.

And here we are at opening night, and there are about a million and a half more things I would like to impart to the cast, but, given the opportunity, probably couldn't think of more than a handful.  Remember not to turn your back to the audience.  Don't block one another in the group scenes.  Don't upstage your fellow actors or yourself.  Keep your hands out of any pockets.  Keep your feet still.  Keep the volume up.  No matter what, STAY IN CHARACTER.  Things I have told them many times already, with varying levels of success, but still want to keep reminding them before an audience sits down to watch them.  

I will give them a pep talk tonight to tell them how proud I am of them, and how if they keep their energy up and believe in themselves and the hard work they've done, then they will soar.  And all of this is true.  And then, they will go backstage, I will be in the auditorium or talking to people in the lobby, or going outside and freaking out a bit.  I'll most likely stand at the back of the auditorium as the play is going on, and try not to pace, because I don't want to distract the kids, and as soon as the lights go up, part of me will have a nervous breakdown.  Not because I don't believe in the kids.  But because I know that there is nothing for me to possibly do any more to help them.  And that's a hard thing to let go of.  

The nervous breakdown will subside in a minute or two, and, before you know it, the show will be over, and I'll be telling the kids what a great job they did, yet warning them not to get over-confident because we still have a lot of performances.  I will look at the other adults on the crew, and I'm sure we'll all smile and say, "They did it," and then, "We did it." 

At every point in a rehearsal process, a director most likely asks themselves, "Why do I put myself through this."  And after tonight, after opening night, that questions is immediately forgotten.

Community Theater Directors: How to Avoid Becoming Overwhelmed at Rehearsals

Me, Bobby Keniston, trying to figure something out in "Silent Laughter" at Lakewood Theater

Greetings everyone, and welcome to Theater is a Sport.  My name is Bobby Keniston, and I will be your host at this blog, where I write down my thoughts on theater, most often for the school and community theater markets, but, sometimes, just theater in general.

Today, I have some thoughts and advice for any community theater directors out there who are feeling stressed out and overwhelmed.  First of all, this is natural.  You are not alone.  In fact, I am writing about this subject today because I am currently directing a production for a local community theater, and I am feeling a little stressed out and overwhelmed.  These thoughts are a way of helping me psych myself up, too.

So, let's see...

TIP #1:  PAY CLOSE ATTENTION WHEN CASTING
While this is true for all productions, it is especially true for school and community theater.  A good number of times, us directors have to make concessions and compromises when casting, or, if we are directing a really large cast play, we may just have to take everyone who auditions.  This happens sometimes.  But there are important things to take into consideration, aside from person's talent.  Do they have a great number of conflicts that will make them constantly late to or absent from rehearsals?  Believe me, you want to know this right away.  Always have a tentative rehearsal schedule for auditions, and ask for conflicts on their audition forms.
What's their personality like?  Do they come off as arrogant or diva-esque?  This is important, although, you can't always judge a person in that way from a short audition.  However, if a fellow director tells you that you should be careful with a certain person because they were a nightmare in a play they directed, you might want to listen to them.  Nothing makes rehearsals more frustrating than a person with a bad attitude.  Likewise, if you're directing a play with children or teens, you might want to inquire to others about any behavior issues or anything like that.
Trust me, I would rather cast a less talented person who works hard and has a great attitude, than a good actor who is going to make my life as a director difficult.  This might not be true for me for professional endeavors, but at the community theater and school levels, I think it is a good code to go by.

TIP #2  GO INTO EACH REHEARSAL WITH A PLAN
Have an idea of what you think the overall shape of the characters on stage will be.  A foundation of blocking when you go into it is very important.  Now, this might have to be adjusted or outright changed when you see it on it's feet, but it's still wise to have a plan.

TIP #3  KNOW THE TEXT, KNOW THE TEXT, KNOW THE TEXT!
You should know the script, the way it flows, the characters in each scene, the technical and prop concerns for each scene.  Again, some of these things may be added to or removed during the rehearsal process, but you should go in with the a good understanding of what you'll need, and an impeccable understanding of the story, and how it is told.  Have an aesthetic vision, and make sure the cast and crew know what it is as soon as possible!

TIP #4  YOU'RE IN CHARGE, SO BE IN CHARGE
This isn't an episode of "Who's the Boss?," and you're not Tony Danza or Judith Light.  You're the director--- you're the boss.  Does this mean you should be an unflinching, draconian automaton?  Of course not.  You should encourage some collaboration, and, yes, actors should be allowed some ownership of your characters.  But a production needs a leader, a number one person, and you are it.  If actors in the play pipe up when you're giving notes, make it clear kindly, but firmly and without question, that this decision is yours.  If they want to talk to you at another time, that is fine, but not when you are giving direction, and not in front of the rest of the cast.  This goes for parents, volunteers, and pretty much anybody.  You will never get anything done, and the cast will feel like they can direct themselves, if you open up every bit of direction to a town meeting.

TIP #5:  HAVE A GOAL TO ACCOMPLISH FOR EACH REHEARSAL.
You may not accomplish them all, but that's okay.  For rehearsals that you don't accomplish your daily goal, say, blocking pages 12-18, make notes as to why the work couldn't be finished in the allotted time, and minimize those reasons, if possible, for future rehearsals.

TIP #6:  ALWAYS HAVE AN ANSWER, EVEN IF THAT ANSWER IS "I'M CONSIDERING OPTIONS TO TRY"
Directors are asked a lot of questions.  That's what being the leader gets you.  Actors, designers, crew members--- they all have questions, and many of them good ones.  Always give them an answer.  It's good for your confidence, and it inspires confidence in others.  And instead of having an answer be "I don't know", say "I'm considering different options to try out."  Doesn't that feel good to say?  Warning:  don't use that answer too much, though.

TIP #7 BREATHE AND TAKE A BREAK
There's no shame in reaching a saturation point at a rehearsal.  It happens.  If you get to a point where you know you're no longer being productive for yourself or the cast, take a break.  Give them five or ten minutes, to give yourself five or ten minutes.  Breathe.  Ask everyone to refrain from asking you questions during the break.  Separate yourself from the group if need be and allow yourself to think without all those expectant eyes looking at you, waiting for direction.  You're only human.

TIP #8  FIND WAYS TO MAKE DIRECTION A TEACHABLE MOMENT
If you're directing for community theater and schools, you will most likely have a wide variety of skill sets in your cast, some very high, some very inexperienced.  It is okay to phrase your direction almost as lesson with young people and inexperienced adults.  Don't condescend, of course.  But this isn't Broadway... sometimes you need to teach.  Sometimes a person's first play is like their Intro to Theater 101.  Don't be afraid to be their professor.

TIP #9  MAKE PEACE WITH HAVING TO BE FLEXIBLE
You're going to have to do this.  Something like this is bound to happen:  you have planned to rehearse Jimbo's big scene, and, at the last minute, you get a call from Jimbo that he's not going to be there.  You have to quickly find a way to make rehearsal valuable for you and for those cast members called.  Take five minutes and figure out what other scene you can work on with the people who are there, with the least amount of fuss.

TIP #10  YOU'RE GOING TO GET STRESSED OUT AND OVERWHELMED
"Heavy is the head that wears the crown" and all that.  It's going to happen.  It just is.  Welcome it, feel it, and keep moving.  Remember you do this because you love it.  And, if you find you don't actually love it, don't do it again.

I hope you find these thoughts valuable.  I would love to hear thoughts from others as well, in the comments below.  I'll take all the help I can get!

Until next time...

THOUGHTS AND TIPS ON KICKING STAGE FRIGHT IN THE BUTT

Me with my blanket from Lakewood Theater's production of "The Producers".  Who gets stage fright when they have a security blanket?

Greetings ladies and gentlemen, and welcome to theater is a sport, my little place on the internet to talk about theater for whoever wants to hear it.

Just last summer, I was in a production of a play called "The Fall of the House of Usher," based on the story by Edgar Allan Poe.  I was the lead in the play, narrating a good deal of the play, while also being involved in the action.  My character in the "present" was being interrogated by a police officer, and I was supposed to be nervous, upset, in shock, and a bit traumatized.  These are all fun things for an actor play, until, well, it starts to become too real.

One night of the performance, it was dreadfully hot. I was drinking plenty of water backstage of course.  However, the play called for me to begin the play in my suit, a heavy overcoat, scarf and hat. I was onstage, and all was going well.  I had my first scene with the police officer, and it was fine, and then moved into the flashback scene.  I sat down on the couch, still bundled up, talking to my scene partner.  And then, at the moment I stood up to move closer to her, my head went light, and I stumbled over the line.  I kept going of, course, like the little trooper I believe myself to be, and, really, it was just one small moment of one single performance.  Once the coat was off, I was more comfortable, and, in my moments backstage, I kept drinking plenty of water. Everything was fine.

But then the real problem began.

I was in my head.  Oh my God, I kept thinking, what if I miss the next line?  What if I do pass out? What if I ruin this entire performance?  Will anyone ever cast me again?

There were two performances left of the run after that night.  For each of them, I was terrified.  Although the heat had broken, I still felt hot, dreadfully so, when I stepped on stage.  I didn't trust myself.  My palms were icky, so that I felt embarrassed about the few moments when I joined hands with other cast members.  I would go backstage and be convinced that I couldn't return when  I was supposed to.  I would take deep breaths and tell myself "You're okay, you're okay, you're okay."  But I didn't feel okay.  I felt like my costume was choking me, and getting tighter by the minute.  I would look at my fellow actors, and, instead of being in the moment, I would be thinking, "Just make it through this scene, please God, just let me make it through this scene."

For the first time in my life, I had a SERIOUS case of stage fright.

Don't get me wrong--- I've been doing plays now for 27 years, since I was 10 years old.  I've certainly had nerves in the past, but this feeling was different.  It was a feeling of dread.  There were moments in my mind I imagined myself stopping the scene, turning to the audience and saying, "I'm sorry", and shrinking away backstage, most likely in tears of shame, and just not finishing.  Never before had I ever imagined such a scenario.  It left me with a huge crisis of purpose--- I've always wanted to be an actor, always been an actor.  Being in plays is what I do, it's what I live for?  Would I have to go and study accounting?  Should I just stick to writing and learn to live with the gaping hole that giving up acting would leave in me?  Was I just losing any gift I might have had for it?

Yikes.  Just writing about it now makes me feel awful.  I guess this is why most actors don't even want to talk about it.

You see, many, many actors and other performers have felt this anxiety.  Ian Holm, a favorite actor of mine, even walked out of a production of "The Iceman Cometh" in 1976 because of stage fright, and didn't return to the theater for 8 years. Daryl Hannah, when starring in "The Seven Year Itch" on the West End underwent hypnotherapy for her stage fright.  I've heard stories of actors who literally vomit before every performance, not that you'd know it the second they stepped out on stage.

I believe that stage fright for an actor is even worse than writer's block for a writer, though they're in the same ballpark, and most likely come from similar places.  The difference, of course, is the public scrutiny, and perhaps, embarrassment that comes from an actor who is now afraid to act.  Isn't that like a surgeon who gets sick at the sight of blood?

Stage fright (or more technical terms like "performance anxiety", or topophobia) is easily one of the top five fears I have experienced in my life.  But the good news is, I made it through the other end, did a whole lot of reading on the subject, and am now here to offer some tips and thoughts about how to conquer it.

First off, it is normal to be nervous before a performance.  In fact, very few people are not nervous before a performance.  Why?  Well, you're putting yourself out there.  As Mr. Ferlinghetti would say, you are constantly risking absurdity.  So, yeah, there's a little bit of pressure involved in that.  But remember:

1.  Being Nervous Gives You Energy:  energy is a very important thing to have on stage.  It carries you through a performance, helps you connect with your fellow actors and the audience, so long as it is channeled to the job at hand.  If you're backstage telling yourself how nervous you are, try instead to say, "Wow, I've got a ton of energy right now.  This is great."  You keep telling yourself how nervous you are, even if it's true, well, it's going to become a lot more true and a whole lot worse.  Tell yourself you have energy, and energy is needed for a great show, well... how 'bout that?  It's a nice positive spin on your natural feeling, and you may just make that great show come true.

Part of what I was feeling during my (Thank God) short-lived bout with stage fright was a feeling of worthlessness.  Though I don't make my living through acting, I studied acting in college, and have always prided myself on being a good actor.  Not a great one, but a good one.  I've been in a lot of plays, and, by and large, from the feedback I receive, people tend to enjoy my performances.  I work hard on them.  I care about them, more so than any other paying job I've ever had.  So the idea of losing all of that, losing any reputation I might have of being an actor that directors can depend on, or that audience members like to see, was devastating to me.  But here's the thing:

2.  Having Stage Fright Does Not Make You a Bad Actor:  people told me the last few shows of "The Fall of the House of Usher" were good.  Nobody in the audience once said, "You looked scared up there."  In fact, I won an award for the show.  Stage Fright isn't about your work as an actor.  It's about you and your insecurities.  It's about talking yourself out of something you know to be the truth:  that you can do this.  It's about those voices in your head that tell you you're not good enough or strong enough,  It's about not trusting yourself.  It has nothing to do with your art, your creativity, or your worth as a human being or performer.  Stage Fright is backstage business.  It has no place in the spotlight.  You do.

3.  You Can't Have Stage Fright Unless You're In Your Head:  believe it or not, people tend to mess up the most on stage when they are constantly thinking while on stage.  As I mentioned earlier, I was in my head like crazy.  My mind wouldn't stop.  And why?  Because I thought it would be my mind that pulled me through those performances.  WRONG.  Letting yourself be in the moment, focusing on your scene partners, hitting your marks and opening your mouth to speak is what gets you through performances.  So how do you let go of your mind during a performance.  Sometimes it helps to bargain with it.  "You can tell me all the things that went wrong after the show, brain, but shut the hell up while I'm on stage.  Deal?"

One major problem I had, as I mentioned, was the notion of letting people down.  My director, my fellow actors, and, not least of all, the audience.  But here's the truth...

4.  Lives Are Not At Stake:  It's true.  Every actor has performances they are not proud of.  But their lives didn't end.  Nor were any audience members' lives put in jeopardy.  Now, I'm not trying to be glib, and, yes, I do think plays are very important, and that people should approach them with sense of stakes, and a desire to give the best show possible.  It's serious business, yes.  But, if you're feeling strong anxiety, it's important to remember that you and everyone involved will survive.  You're not removing tumors, or administering powerful drugs... you are creating something.  And creating something is always a bit of an experiment, and not everyone is going to like it anyway.  If you're hung up on the idea of anything having to be perfect, you're in trouble, because theater is an imperfect medium.  That's what makes it special on a night to night basis.  No one wants to fail, per se, but it's better than not doing anything at all.  It really is.  Stage Fright can't hurt you if you hold on to the spirit of exploration and creation, and let go of the notion of perfection.  You are far more likely to reach "perfect" (or the closest thing to it), if you forget about the concept entirely.

5. AUDIENCES ARE FORGIVING:  Okay, I know some of you will be thinking, "Not all of them!"  And, okay, that's true.  In this society, there are plenty of hate-watchers out there.  But so what?  You're not doing it for those people.  And I do believe, by and large, particularly in the amateur markets (who I mostly write for anyhow), audiences want to see you succeed.  They want to have a good time.  They've had a long week, want to relax, watch a show, and get lost.  They're not there to point out your flaws (I know, I know... some are... but, again, do you really care what people like that think?).  I'm sure you've all heard the old remedy for stage fright:  "Picture the audience in their underwear" or "picture the audience naked".... I've never done this.  I think it could cause it's own problems of unexpected laughter or arousal.  But, I understand the point.  Instead of picturing the audience naked or in their underwear, instead, picture them stripped of any power invalidate your belief in yourself.  See them stripped of the mythical "audience" label and just see them as human beings who want to have a good night, just like you want to have a good night.  They play a part in the play, too, after all.  We're all sharing this moment of time together, so don't think of them as some external force, but rather, invite them in.

I'm not a therapist or anything like that, but I just know that these are some thoughts that helped me through my little crisis last summer.  I hope you find them useful, and please feel free to share any tips and thoughts you might have in the comments below.

Thanks for reading my blog, and remember--- keep up the energy, make a deal with your brain, and put yourself and not your insecurity in the spotlight.  You're gonna be great.  I promise.

WRITING ADVICE: Who Cares What People Think? (Or Don't Write With Anyone Whispering in Your Ear)

Emily Ciuffetelli as Kelly in a production of my play "End of the Movie"

Greetings to all of you writers and actors out there, young and not-so-young, and welcome to Theater is a Sport, my blog where I talk about all things theater that happen to pop up in my mind.  My name is Bobby Keniston, and I am a playwright, actor, director, and part-time drama teacher.

I sometimes wonder if Samuel Beckett's mother ever said to him, "Why can't you write a nice, ordinary play that everyone gets, huh?  What's with all the dark?  What's with all the crazy?  Can't you be a normal playwright, and write a sweet play about a lonely gal who meets a nice fella, and they wind up together at the end?  What's the matter with you?"

If she did, I'm glad he didn't listen to her.  We may have never had Waiting for Godot, or Happy Days.

I wonder if Eugene O'Neill ever had a friend say, "Gene, come on, already!  We get it... life's rough!  Give us a good comedy, huh?  And 'Ah, Wildnerness' doesn't count!"

It's not easy being human, and it's not easy being a writer, because our canvas, by and large, is humanity.  Writers, after all, are writing for human beings, and, more often than not, writing about the human experience (even if they're writing about Martians). 

And the human experience, along with being beautiful, can be ugly.  And scary.  And disturbing.  And dark.  And depressing. 

Playwrights, like all artists, often find themselves going into places that others do not necessarily wish to go, all for their art.  To some degree, I think it is almost the responsibility of the playwright to keep pushing themselves and challenging their audience.  Not just for the sake of doing so, of course, but for the sake of being honest, telling a true tale, and reflecting humanity (even some of the harder elements of it). 

When you sit down to write, sit down alone.  Don't let the sounds of your parents, friends, spouse, or children be whispering in your ears.  Of course you love these people.  Of course you want them to be proud of you.  But it is exceedingly difficult to write an honest play that comes from you if you are worried about disapproving voices. 

What will people think of me?

Who cares? 

Okay, so that's easier said than done, adopting an attitude of "who cares?", and, yes, I believe everyone cares at least a little bit what people think of them.  But honestly, if they don't like your play that deals with a murderer stalking single mothers in a small Midwestern town, then they can write their own play. 

If you are going to be a writer, you have to write from yourself.  You have to write with freedom.  You must let yourself go and see what happens.  You may have to fix things.  There will be a time for constructive criticism from others that will certainly help your play or story.  But constructive criticism does NOT include matters of personal taste. 

As a writer, your own inner voice, your muse (who dwells inside you), your inner idea manufacturer, has to be louder than the disapproving voices of others.  Writers can't seek approval from the masses--- it's a surefire way to never attain it. 

So be free, young and not-so-young writers.  If people think your nuts, then they clearly aren't fellow writers, thereby making their opinions on your writing far less valuable.  You can always just tell naysayers the simple truth:  "Hey, I'm working here.  Leave me alone."

So if you've been looking for permission to let loose in your latest composition, then consider granted by your truly, Bobby Keniston.

Remember:  write honestly, and theater is a sport.  See you next time.

Theatre Educators--- Help Create Actors, Not Parrots!

Greetings, and welcome to Theater is a Sport.  My name is Bobby Keniston, and I am an actor, director, playwright, and theater educator.   I feel lucky to be all of these things.

There are a great many misconceptions when it comes to the idea of theater education, particularly at a high school level. While many people would recognize that it is not a visual arts teacher's job to tell a child, "This is how you draw a sun, and this is the only way to draw a sun," these same people may expect that when directing students in a play, or teaching a high school acting class, that you tell the students how to act. "Read the lines this way, with a big smile on your face, then when he yells at you, act sad by sticking your lower lip out and lowering your head. Listen to how I say the line and then do it like that." This is simply not true. Or, at least, I believe it goes against every little thing theater education should be about.

As a director, I try to NEVER give line readings (having people imitate how I would say a line). To me, that is akin to a visual arts teacher saying, "You can only draw that this way." The only time I will do this, the only, only time, is if I have a really little kid who cannot think critically about what they are doing, and, only then will I do that in a production that people are paying money to see. I don't even like to do it then. Even when directing "Annie, Jr." and "Anne of Green Gables" at the Center Theatre, I didn't do this unless absolutely necessary, and never with anyone over the age of five. Why, Bobby, you may ask.  The answer is simple.  I feel my primary role as an educator is to create actors and not parrots. It is my job to teach young people about MAKING CHOICES. That is perhaps the number one job of an actor--- it is what they bring to the table as an artist.

I do my best to give all cast members or students tools toward building a character, understanding a script, and discussing with them how they help to tell the overall story. From time to time, I will have a students ask me in a rehearsal or class, "How should I say that line?" I always answer that question with another question: "Where is your character at?" or "What are they thinking?" or, most often, "What does your character want?  What is their objective for speaking this line?"

In this way, I am helping to create actors, and actors who can analyze a script critically.  If I tell them exactly how to do something, I cease being an educator or a director, and I become a pirate trying to train his parrots.

A director's job is to put everything together to create an experience that is magical coming from the work of many, and not just myself. 

My job with high school students or even younger actors is to facilitate them finding the answers for themselves, guiding them to create something which comes from their unique perspective, and discussing changes if I don't agree with their interpretations, or don't believe it fits within the world of the play.  This is an important job. 

You see, this is what happens in real life, in the real world of theatre. Actors make choices. They are not told exactly how to say a line. And I will not condescend to my students by expecting less of them than I would of adult actors.

 

If  a student registers for my class, or signs up for my plays, regardless of talent, I do my best to bring the best out of them.  This, of course, has varying results.  But by doing so, I am providing a richer experience for this student, and giving them a richer education. 

 

I do not, at the high school level, believe in asking the weaker singers to only mouth the words, or the weaker actors to stand in the background like props or furniture.  If I do this, then I fail as a teacher and as a director.  When it comes to theatre education, it is just as much about the journey as the final result. 

 

So I want my final result to be spectacular?  Of course I do.  Is that always going to happen.  Of course it isn't. 

 

But what can always happen, if I do my job, is that students can learn to think differently, use their minds more creatively and critically.  And that is what makes a win in my humble opinion. 

I do not create parrots. I assist young people in realizing they are actors.

 

Thanks for reading theater is a sport.  See you next time. 

TIPS FOR ACTORS ON PREPARING A MONOLOGUE

Greetings, ladies and gentlemen, and welcome to theater is a sport. 

I don't know about you, but I love performing monologues (I also like writing them very much, but today's post is about acting).  They're juicy, aren't they?  Not only that, it gives an actor the opportunity to have the undivided attention of an audience for a little while, and to challenge themselves to be as engaging as possible for two, ten, or even twenty or more minutes. 

And, of course, monologues are often used in acting classes and for audition purposes.  I remember nervously learning my monologues when I was auditioning for acting schools, working them until they felt like they were a part of me. 

Below are a few guidelines for student and community theatre actors about preparing a monologue, whether it is for an audition or a performance, a stand alone piece, or part of play. 

MAKE SURE YOU KNOW THE PLAY
If you have taken a monologue from a play for an audition or acting class purposes, make sure you have read the ENTIRE play before performing the monologue.  This is vital in understanding where the character is, what there goals are, what they have done so far to achieve them, what obstacles are in their way... all these great questions you need to know the answer to in order to create a compelling performance. 

DEVELOP YOUR CHARACTER
Again, if you are doing a monologue for an audition or for an acting class, you need to develop a character just as you would for an entire play.  You need to develop an appropriate voice, walk, physicality, motivation... in short, all the stuff you would for a standard play. 

WHO IS YOUR CHARACTER TALKING TO?
Obviously, this is important.  Is your character talking to an unseen character?  Are they breaking the fourth wall and talking directly to the audience?  Are they talking to an unseen video camera for a documentary?  Are they talking to themselves, thinking and feeling out loud?  You need to know who you're talking to in order to sharpen your character's intentions. 

WHERE IS YOUR CHARACTER?
Obviously, this is very important as well.  People behave differently when in a library than when in a grocery store.  Or in a bedroom or in a Laundromat, etc., etc. 

WHAT DOES YOUR CHARACTER WANT?
This is a question that an actor should be aware of always, monologue or not, because a character is a collection of wants, and the actions they perform to achieve what they want.   In a monologue when it is just you speaking, it is so important to be precise in what your character wants.  Otherwise, why bother even have a monologue?  Your character needs to earn their speeches, remember.

BE CONFIDENT IN YOUR MEMORIZATION
You may not believe what I'm about to tell you.  In fact, you might be thinking, "Bobby, you're crazy."  But I have found, in my experience, that memorizing a monologue is actually quite a bit easier than memorizing little tiny lines that pop in here and there throughout a play.  Having said this, it is important to be confident in your knowledge of the piece.  The last thing you want when trying to engage an audience, teacher, or casting director, is to be thinking..."Oh, no, what's my next line".  You want to know your monologue cold, so that you can stay in the moment as much as possible.  I have always found it helpful to test my memorization by writing out the monologue... more than once.  And, of course, you should be running through it a great deal... a very great deal.  Over and over and over.

And most importantly...

YOU ARE NOT ALONE WHEN YOU ARE PERFORMING A MONOLOGUE!
Just because you are acting by yourself, it doesn't mean that you are not connected to others... your AUDIENCE is your scene partner.  You can play off of their energy as you would another actor onstage.

I hope you have found these tips somewhat helpful.  I know, from my experience, that they have always helped me. 

Until next time, please remember... Theater is a Sport.  Sometimes even a solo sport.

To learn more about my work, please click HERE, or HERE, or HERE, or HERE.

5 Tips For Improving Your Improvisation!

Yours Truly, Bobby Keniston

So today at Theater is a Sport, I'm talking about improvisation and how it relates to theatre, particularly in school and community theatre. 

To answer the first question you must all be thinking.... WHAT IS IMPROVISATION?

In simplest terms (or, at least in the terms I think of it), improvisation is the act of creation with no (or very limited) preparation.  It is diving in and just creating.  It's being spontaneous. 

Because of this almost freestyle nature, improvisation can make many newcomers to theatre nervous.  Scared, even.  Heck, even I get nervous when playing improvisation theater games from time to time. 

It's acting without a safety net (the safety net being lines written for you).

But, then, here's another question:  WHY IMPROVISATION?  WHAT'S THE POINT?

However, I'm a firm believer in improvisation and its uses in character development and really digging into questions of motivation and "as ifs".  Not to mention, it can be SO MUCH FUN.  It's a great way to learn to trust yourself, and trust your cast mates.  And, if you can become proficient at improvisation, it truly comes in handy when you get on stage and something goes awry. 

In a sense, I believe Improvisation to be the purest form of acting, really.  The goal of any play should be to appear like it's happening right there in the moment, and the performers should appear to be creating their own lines and actions.  It's trying to create the notion of improvisation, only you've had rehearsal and lines written for you. 

And, my favorite thing about improvisation is that it makes the two biggest rules of acting come to startling life:  LOOKING and LISTENING.  And then, REACTING.

So here are a few tips for spontaneously creating a scene when playing theatre games or learning to improvise.  Hopefully these tips will help you to keep a scene going:

TIP #1:  I did not invent this, and anyone who has ever had any experience with improvisation has probably heard it:  YES, AND...  What this means is that you should take what your partner gives you, and treat it as fact.  And then build on it. 
For example:    
PARTNER A:  Boy you sure are getting fat!
PARTNER B:  It's the Ho-Hos, man.  They call to me in the middle of the night.  It's like I'm cheating on my wife with snack treats!
That's accepting what your partner is giving you, and building on it.  This scene could now go in different directions, with the subplot of the wife o what-have-you.
Now, Partner B might be as skinny as a rail, but not in the truth of this improvisation. 

TIP #2:  ESTABLISH YOUR CHARACTER ASAP!  When improvising a scene, it's a good idea to cut the malarkey and get right into it.  Audiences will want to know who you are from the get-go. 
For example:
PARTNER A:  Doctor, help me!  My arm was just cut off!
PARTNER B:  Careful!  Your dripping blood all over my examining room!  Don't you have any manners?
Right away, Partner A has established him or herself as a person in dire need of medical attention, and Partner B has built on that, making his or her doctor a bit fussy and unfeeling.  This scene could build in many interesting ways. 

TIP #3:  Some call this setting up a BLOCK and some call it DENYING, and both those terms are true, but I'll put a more positive spin on it:  GO ON THE JOURNEY WITH YOUR PARTNER.  Remember that in an improvised scene, it is not about YOU.  It's about you and your partner(s) working together as a team.  Blocking or denying your partner is a way to kill a scene very quickly, which, obviously, is the exact opposite of what you want to do. 
Here is an example:
PARTNER A:  Doctor, help me!  My arm was just cut off!
PARTNER B:  Your arm is right there.  And I'm not a doctor.
And another:
PARTNER A:  Is this your first frat party?
PARTNER B:  What are you talking about?  I'm in the supermarket!
And another:
PARTNER A: (miming holding a puppy)  Do you like my new puppy?
PARTNER B:  There's nothing there!
See what I'm talking about?  Go with your partner.  This is all part of Yes, and... to an extent, but it's more than that, too.  It's about moving in synch with the person you're performing with, and not shooting down their creations. 

TIP #4:  KEEP RAISING THE STAKES!  Just like a scripted scene, a performance is more interesting if the stakes keep going up, and the action keeps rising and rising.  Scenes are interesting if they build.  No one wants to see something stay on the same level for too long.  It's boring.  Part of the point of improvisation is for you and your partner to keep building, just like a written scene should keep building.  Now, fun improvisations often go off and build in a somewhat exaggerated or surreal fashion, but that's okay, too.  As long as it builds.

TIP #5:  RELAX AND DON'T BE IN YOUR HEAD TOO MUCH!  You're going to be a very nervous improviser if you stay in your head too much.  If you keep worrying, "I don't know what to say, I don't know what to say, I don't know what to say...", then guess what?  You're not going to know what to say.  But if you really look, listen, and put trust in yourself and your partner, then you can do this.  Don't worry about being as funny as the Upright Citizen's Brigade, or Drew Carey's Improv shows.  In fact, right now, don't worry about being funny at all.  In fact, don't worry.

Just make a scene.  Relax.  Create.  You'll be fine.  No one's life is hanging in the balance.

Remember, improvisation can be a really great time, if you can let yourself go. 

And also remember--- theater is a sport.

Any questions or comments?  Let me have 'em!  Share them with me below, or send me an e-mail at theater.is.a.sport@gmail.com!

ADVICE FOR PLAYWRIGHTS: 10 Tips To Write a Play For School Theatre Programs (And Get it PUBLISHED)

This is me, Bobby Keniston.  This is my blog, Theater is a Sport.  Please read it and follow it.  Thanks.

Hello everybody, and welcome to Theater is a Sport.  My name is Bobby Keniston, and today I'm going to talk about writing a play for the school theatre market, and give you some tips about what might help it to get published. 

I have done a great deal of posts about the craft of playwriting.  In fact, you can see the very first lesson by clicking HERE.

This post is a bit different.  This one is all about tips to get a play published for the school market.  Playwrights like to earn money just like everybody else, and, while I can't know for certain that if you follow these rules you're guaranteed to be published, these are pretty basic guidelines for the market to help you along your way.

I'm not claiming to have all the answers, but I do have 24 plays published right now, most of them for the school market, with four different publishing houses.  I have learned by trial and error in the three-and-a-half years since my first acceptance for publication, and have also been fortunate enough to strike up online friendships with a great deal of playwrights for the school market, who have generously offered me advice and encouragement. 

So let's get started, shall we?

TIP #1:  Statistically speaking, more females than males audition for school plays and musicals (this is true for community theater productions as well).  Try to write at least a few more female characters than male characters, or, better still, it never hurts to have a number of gender flexible roles (roles that can be played by either male or females)

TIP #2:  Flexible cast size is also a good thing.  If you study the market and look at old classics by the wondrously prolific Tim Kelly, you'll notice how most of his full-length plays have cast sizes of 25 or more.  The more the merrier, right?  You will also notice that many of the roles can easily be doubled, or maybe even combined.  In this way, a play can accommodate a very large cast, or a much smaller one.  Hence, hopefully, more school groups will be able to produce your play. 

TIP #3:  This is not a hard and steadfast rule, but it is something I have found to be true for my work:  Lighter fare gets produced more often by schools.  This is not to suggest you should write nothing but comedies... far from it.  I'm just saying for myself, and for many of my playwriting pals in the market, the comedies sell more than the dramas.  Many of my friends have confided to me that the serious plays they worked so hard on and are really proud of get FAR less productions in a year than their lighter, fun ones.  That's the business.  Please don't mistake this as me advising you not to write dramas.  Dramas do get published and occasionally produced.  I'm just talking from a generalized, business-minded standpoint.  Two plays I'm very proud of, FRANKIE AND THE GINGERBREAD BOY, and AEROPLANE OVER THE SEA, do not do nearly as well as my plays I DON'T MIND THAT YOU'RE UGLY or CITIZEN'S ARREST.
(NOTE:  The one aspect of school theatre where this doesn't seem to be the norm is for the forensics market.  Serious monologues and serious 10-minute duets seem to do very well as a general consensus, sales-wise)

TIP #4:  Speaking of writing shorts, whether it be monologues or duets, remember, ten minutes is the maximum.  They are mostly selling for forensics' competitions, and they are strictly timed.  And also remember, the CONFLICT and CHARACTERS are what sells these pieces. 

TIP #5:  SIMPLE SETTINGS.  School drama teachers (and I should know, I am one), by and large, do not have a large budget to work with and do not receive a great deal of help to put a show together.  Because of this, a play with a simple unit set (which means one set for the show, without scene changes), or with representational set pieces (that can be moved on quickly and easily, like stools or chairs or boxes) are very attractive to drama teachers.  I don't blame them.

TIP #6:  Share the wealth when it comes to lines.  Make your supporting characters interesting.  Make sure that even the smallest part has some interesting feature or quirk that will make him or her fun and desirable to play.  School theatre is often about getting as many kids involved as possible, and we want to make sure that they are all having a positive experience, whether they have 100 lines or jut two.

TIP #7:  NO BAD LANGUAGE or EXPLICIT CONTROVERSEY.  Yes, it is good as an artist to sometimes push the envelope, and, yes, it is important to write plays that address issues that teenagers will face in their lives.  HOWEVER... if you write a play about teenage suicide (for example), it would probably be best not to have a kid with a gun to his head, a quick blackout and loud bang, and then bring up the lights with the kid laying in a pool of his own blood.  I apologize for the graphic image, and, while that image is certainly striking, and perhaps honest, most schools would not produce it.  Don't get me wrong--- some might, but most wouldn't.  And when it comes to language, it needs to be as clean as possible.  I have been asked by an editor to remove the words "hell" and "damn" from a high school-themed play.  Yes, I know many teenagers swear and curse, and we want to be honest--- I even wrote a blog about how young adult fiction can get away with so much more than young adult plays that you can read HERE.  But take my word for it--- you will most likely lose a whole bunch of productions, and maybe not even get it published, if you write a play with a ton of swearing for the school market.  The same thing goes with sexuality.  What you have to remember is that you are a creative writer, and that working within some of these certain guidelines can actually spark creativity and dimension, not destroy it. 

TIP #7:  While many plays for adults, particularly in the professional theater, do not appreciate in-depth stage directions, you have to remember that school theatre is often directed by people who see the value in the program, but might not have the most experience when it comes to directing.  There's an old adage about how many English teachers have been forced into the role of drama director over the years.  This is true for many different kinds of teachers.  Not every school has a separate theatre program with someone who majored in theatre in college.  So, stage directions can be very helpful to create a vivid picture for these folks.  The same is true for setting designs and costume and prop plots.

TIP #8:  The one play that I haven't managed to get published is called RAINBOW AND THE GOOFBALL.  It's a fairy tale I created.  Every editor who has read it has responded to me about how much they like the piece... some have even raved.  But each one has said there is no room for it in their catalogue.  If this play were called CINDERELLA AND THE GOOFBALL, it might have had a much more sporting chance.  If you're going to write a fairy tale, do something fresh and new with a name people already know.

TIP #9:  People often ask me if a play needs to be produced before it can be published for the school market.  Here's the honest answer:  only 2 of the 24 plays I have had published had a production before being published.  I know this goes against conventional wisdom, but it is the truth.  In fact, RAINBOW AND THE GOOFBALL was one play that had a production before being published, a successful one in fact, with great pictures and reviews, and that did not help it get published.  Now, obviously, a production doesn't hurt.  The reason some places strongly recommend it is because a great deal of rewriting can take place during the course of a production, making the script "tested for success".  So I don't know what to tell you.  What I will say, is that I ALWAYS read my plays out loud, often with a group of students, to hear how it sounds, and will make changes from that.  Hearing a play out loud does help one revise it.

TIP #10:  This tip will seem a bit like a cop out, but, it's true just the same:  KNOW WHEN TO BREAK THE RULES.  My advice is to get at least a few publications under your belt before you do, but, no one, not even editors, know for certain what can go through the roof and be a smash hit.  You just don't know.  You can do your best to follow trends (which isn't a bad idea), see what's big in the world of kids and teenagers, tap into all these different avenues, but, hey, in truth, it's all just a guess.  The number one job is still to please yourself first and to write something you can be proud of having your name on.  Plays are in print for quite a good stretch of time after being published.  Remember that. 

I hope you have found these tips useful.  To learn more about my plays, you can click HERE, and check out all the links (note, a few of my plays are forthcoming, so they are not yet available to check out). 

Remember, writing plays for the school market is tough, so it's good to get some advice here and there.  Also remember--- theater is not just a craft, or an art form, or a way to make some money--- it is also a sport.

HOW TO LEARN LINES FOR A PLAY: Advice on Flexing Your Mental Muscles

A Banner Made for Me By A Cool Student Named Claire Hamlin
(I am not affiliated with HBO or "Game of Thrones", though I wouldn't Mind)

Greetings ladies and gentlemen, and welcome to Theater is a Sport.  My name is Bobby Keniston, and I will be your host.  This is my little corner of the internet where I talk about all things related to theater as I see it. 

It has been a while since I have posted, largely because of end-of-the-year school activity, as well as being in rehearsals for "The Pajama Game" at Lakewood Theater, where I am playing the delightfully lascivious character Prez.   I apologize for my absence to any or all regular readers of my blog (if, indeed, I have regular readers).

Today I want to talk about the process of learning lines for a play. 

It astounds me how many people think that is the only special trick for being an actor.  I can't tell you how many times people have said to me, "I would love to be in a play, but I couldn't learn all those lines," or, even more often, "How do you learn all those lines?"

I want to stress right from the start that I believe that learning lines is NOT THE HARDEST WORK AND ACTOR DOES.  Don't get me wrong--- I am not trying to downplay the importance of learning lines.  Obviously, it is an essential part of being in a play.  However, I often tell my students that learning lines should be the EASIEST part of being in a play.  The real challenge is taking those lines from the script, building a character with flesh and bones, thought and life.  But... EVERYONE who is in a play should do that, whether they have lines or not. 

Having said all of this, learning lines can, in fact, be a challenge, particularly if you have a great deal of them. 

SO.... how do you memorize lines?

Don't hate me, but I am actually one of the lucky people for the most part where reading over the script time and again just make the lines stick into my memory.  This isn't to suggest that I've never had trouble learning certain lines, but I'm pretty fortunate to have a mind that is geared toward memorization of lines.  Yay, me!

For people who may not have that particular stroke of good fortune, below are some tips I've gathered over the years, and that I sometimes use with my students.  Remember:  you are not just learning YOUR lines, but also need to learn your cues (the lines that come immediately before your lines), so that you know when to come in.

NOTE:  While this isn't officially the first "tip", I do suggest everyone to highlight their lines (if you have a book that is a rental and you can't mark up, photocopy it and then highlight your lines... it helps)

TIP #1:  It is vital that you know the "flow" of the show, and how your character and their lines help to tell the story.  Understanding the script makes the process of learning lines much easier.  Directors can facilitate this process by good discussions after the table read, and by talking about how the story works.  I have even had casts "do the show" without scripts early on in the rehearsal process, using improvisation to tell the story.  This is an excellent way to gauge how well a cast understands a story and how it flows together.  If your director does not do that, and there is not always time for such things, have someone at home or a friend help you with it. 

TIP #2:  Try not to just memorize by rote, but by ACTION.  Every line your character speaks, theoretically, is because your character wants something or wants to get something across.  Think of what these actions are.  What does your character want?  Why is it important enough for them to speak out loud.  If you begin to memorize the "wants" with the lines, then you are actually memorizing concepts, which makes your life easier.  The more you know what your character wants, the more you will be able to help tell your part of the story, even if you don't get it word for word.  (Which, of course, should be the goal to some extent, or as close as possible)

TIP #3:  RECORD:  I know a great deal of people who record their lines.  They start by recording their cues and then their lines, and they listen to it over and over.  Then, they record their cues, and leave a space for their lines, and then listen and try to fill in the spaces.  This is basically "cueing" yourself.

TIP #4:  Have someone "cue" you.  A friend or loved one, even if they can't act.  Have them read your cues, and you give them your line.  Make them be strict with you.  It's important that this person like you, because, most likely, you will get frustrated when you keep messing up, and might get irritable.

TIP #5:  DIRECTORS:  Here is something I've done on a few occasions when I have had casts that are worried about lines or having trouble learning them.  This is hard work.  It is like tip number 4, but it is sort of the atomic bomb of "cueing".  Get some volunteers, one for each member of your cast, to work with each member of your cast.  Take the book away from your cast members, give them to their new "partners".  These volunteers are going to cue your cast in their own little space.  The volunteers will be told to make sure the actors have to have their lines WORD FOR WORD.  If they miss a word, they have to go back to the beginning of the line.  Even if the volunteer has to cue the actors and have them repeat over and over again, this is okay.  I have found this to be an AMAZING and EFFECTIVE method, although it is also difficult for the actors and can be frustrating.  When done, the actors have an understanding of their lines and a scene that they did not have before, and will be much closer in their deliveries.  But it does fry the brain... don't do this for any longer than an hour and a half to 2 hours.  Special note:  when I had to step into a role with less than two days notice, this is how I was able to learn the lines--- I started by basically repeating the lines sentence by sentence, word by word.  Repeat over and over again. 
It works. 

TIP #5:  If you are memorizing a monologue, again, make sure you know the flow of the speech.  I have found when I have difficulty learning a monologue, typing it out over and over again can be helpful.  I know that sounds weird, but doing something physical can help nail things down in your brain.

TIP #6:  Another monologue tip--- do your lines in front of a mirror. 

TIP #7:  Line tag--- another fun thing for directors to do.  If you're doing a line-through, have the cast play a game of tag based on cues.  Whoever speaks next is who you tag when you give your line.  They tag who they're speaking to when they give their line, and so on and so on.  This gives a good understanding of the back and forth, as well as looking and listening.

And finally...

TIP #8:  Read the script over and over.  And over.  And over.  And over.  (You get the idea)

Okay, so these tips are obviously not the only methods of learning lines, but I have seen them do wonders.  Repetition is key for all of the tips. 

So, break a leg, learn those lines, get them under control as soon as possible, and work on the serious stuff like developing your character and looking and listening.  Trust me, that's for more important and taxing than the chore of learning what words you're saying.

Until next time, remember:  theater is not just a craft or art form, but is also a sport.


BOBBY LINKS:

http://www.brookpub.com/default.aspx?pg=ab&afn=Bobby&aln=Keniston

http://www.histage.com/author/authorinfo.asp?AuthorID=528

http://www.playscripts.com/author.php3?authorid=1113

http://www.hitplays.com/default.aspx?pg=ab&afn=Bobby&aln=Keniston

https://www.facebook.com/pages/Bobby-Keniston-Playwright-Page/148232788536601

More Advice for Community Theatre Directors

Greetings ladies and gentlemen.  My name is Bobby Keniston, and I'd like to welcome you to my little blog called Theater is a Sport, where I talk about all things theatre-related.

As regular readers know, I am very much a believer in the importance of community and school theatre, not only as a training ground for professionals, but because it is vastly important to our culture as a whole.  So, today, I thought I would share some more advice for school and community theatre directors, culled from my many years directing for both of these markets. 

I talked a good deal about "beats" in an earlier post, how they are essential for a director to find and interpret.  Today, I would like to share with you all what I do early on in the directing process as part of my "director's homework", before rehearsals even begin.  I like to make a chart, which I will demonstrate below, for the play I am directing, a chart that is based on the beats of a play, and that will help to give me a start at comprehending the technical requirements, as well as the beginnings of visualising the play in my head, beat by beat, character by character.  Here is an example of the chart below:

BEAT	Page #’s	Characters Involved	Setting/ Location	Props Used	Costumes/ Changes	Lighting & Sound

Now, as you can see, the number of boxes depends on the number of beats in the play.  So, I start with BEAT #1 in the first box.  In the next box over, I put the page numbers (for example:  Pg 6 (Mike: .... How are you today) through top of page 7 (Erica:  My tooth is starting to hurt).  This gives me a roadmap.  Next box, I list all of the characters involved, and whether they enter or exit, then the setting/location in the next box, props used (personal and pre-set), the starting costumes or if there are any costume changes, and then lighting and sound shifts as indicated by the script.  Now, obviously, this is a jumping off point.  You may decide during rehearsals to add props or lighting cues, play with entrances, exits, costumes, what-have-you.  All of that is fine and encouraged.  But what this chart does for me is helps me organize the show into pieces that are not overwhelming.  It helps me to see the details and not just the overall picture.  The vision begins to come into focus for me.  I have also found that doing this homework is great for production meetings with the designers, to organize every little shift.  It's also nice for the stage manager to see what kind of rehearsal props they can scrounge up.

Again, things might change, additions and subtractions may be made.  Those notes will go into rehearsal reports, so don't worry about it.  Making a chart like this, or, at least writing out these details (by all means, don't use the chart if you don't want to), you will begin to know the piece backwards and forwards, and see how one point flows into the next.

If you have any questions or thought about this chart, feel free to drop me a line in the comments below.

If you would like to know more about me, feel free to visit www.brookpub.com, www.histage.com, www.playscripts.com, and www.hitplays.com and search for me, Bobby Keniston.  You will find my plays and links to read free previews of them.  You can also find Theater is a Sport on Facebook by clicking right here:  https://www.facebook.com/#!/TheaterIsASport

Thanks for checking out this blog post.  Remember:  community theatre directors need to be organized, and theater is not only a craft or an artform--- it is also a sport.