The vision for building a Performing Arts program comes first, in the

Presenter Jean R Thibodeau
[email protected]
VISION--The vision for building a Performing Arts program comes first, in the infant stages of
the process. It may reveal itself in bits and pieces that begin to fall into place in your mind--while
you're on a long drive by yourself, for example. By knowing your students and yourself, you can
see the details of a production, and how your own unique talent can bring it all together.
ADMINISTRATION--I make a habit of never making a move without first discussing it with
my administrator. Even much smaller decisions than this. After you've got your vision clearly
established in your mind, going to him or her with this vision is VERY important. They know
the school, the students, the parents, the community, and the school district. They can guide you
in a way no one else can. Talk logistics: -where can we rehearse? -where can we perform? -do
you know anyone on staff who's done this sort of thing in the past that might be interested in
helping with any of the aspects of the production? -is this something you feel would benefit our
students? -do you have suggestions for modifying my vision that might make it better for our
school community?
SELECTION--I suggest choosing a show you know well-- maybe a show you've been a part of,
or directed before--and I have used Broadway, Jr (through MTI) a lot. Also, if you're starting a
brand new program, choose a show that's easy to costume and has a manageable set to build.
Suggestions might include (scaled-down versions of) "Annie", "Oklahoma", or a holiday show
made into a dinner theater (if you're brave!). It can be really fun, as long as you take time to
consider every tiny detail and prepare for these details EARLY in the school year. Also, GET
COMMITTEES FORMED TO HELP if at all possible. Sometimes we music educator types
don't like to give up control of our productions--I'm the absolute worst. But many times, parents
enjoy helping out, and are surprisingly adept at creating scenery, organizing food, supervising
students, costuming/make-up, you name it--they've probably done it!
PROMOTION--So now you've got your vision, Principal's good with it, you've picked your
show, now it's time to find your stars. Promote the auditions with daily news programs, intercom
announcements, flyers/posters up around school, and you can send home a flyer about a meeting
for interested students and parents. They can meet at the school at night, you can give your sales
pitch and information, get them signed up for auditions, Audition Form/Participation Permission
Slips signed--BAM!--all in one fell swoop! I would continue this promotion right up until the
first day of auditions.
AUDITION--For my auditions, I announce two weeks prior to audition week that the material is
ready to be picked up. They are allowed to try out for a maximum of 3 parts, so I always try to
prepare a lot of CDs and dialogue excerpts. They come to my room and pick up the material
along with a combination Audition Form/Participation Permission Slip. I alphabetize these slips
and they serve as contact sheets and permission slips all year for participation in rehearsals. The
auditions themselves are low key, just me and the student in my classroom. They act opposite me
and I judge them based upon memorization, expression, timing, pitch, vocal quality, character
development, and gesture.
ACQUI$ITION--More than likely, there won't be money for a Performing Arts Program built
into the school budget. It's possible, and if you're at a school where the district appropriates it,
FABULOUS! But usually, raising funds is necessary to pay for sound, lighting, costumes, the
show itself, sets, props, etc… We have been blessed with a community partner who adopted us
and donates each year--Hills Pet Nutrition. If you have large corporations or companies who
look to get involved with schools, a community partnership is a wonderful thing. Other ideas are
school dances, selling boxes of candy, or selling snacks after school out of the music room; ads
for the program, both to local businesses and to parents/grandparents/friends.
PREPARATION--Once you know where you're rehearsing and have posted the cast list, you
have to establish your own style of rehearsal design. As for me, I begin with a full cast meeting,
roll call, a talk about expectations for effort and behavior and then I begin read-through
rehearsals. At this initial meeting, I have prepared the first rehearsal schedule, which includes
dates, times and exactly who is to attend each rehearsal. I also make sure I have a way of
contacting each and every one of the students (the Audition/Information forms), so I can contact
anyone who doesn't attend a rehearsal.
PERSPIRATION--Now comes the real work. My group meets three days a week after school
for an hour. It makes for a bit of a long day sometimes, because as we all know, weekends, fall
break, spring break, holiday break--these are often times used to prepare for programs and
concerts. It is a commitment--here, again, your vision comes into play. I systematically divide
the script into first large sections, then, as we progress, smaller and smaller sections. As soon as
possible I take away scripts and make them rely on prompters (backstage helpers whom I've
recruited to make set changes, but who serve many purposes throughout the prep year). If the
student doesn't know a line, the prompter gives them the first 3 or 4 words until they recall it.
BTW--I train several backstage students and sound techs. These sound people run the soundtrack
and are present at every rehearsal, learning to work independent of me, and learning the subtleties
of each track, matching volume to performer, etc… I use choreography with large group
numbers, and try to make it make sense--sometimes these are the really fun rehearsals!
FASHION--Costuming is a very hard topic about which to generalize. Each show is so personal
with regard to this. I can just suggest the simplest route is usually the best. Local costume shops,
Goodwill, parents who can sew, Internet costume sites, Everything For $1 Store for accessories,
borrowing from other local schools in the area, renting from the MTI network, Halloween
tent/stores. Sometimes, the student will decide to let their character for the play be their
Halloween costume for the year. That's a huge bonus!
As far as the stage fashion is concerned, I am a corrugated cardboard hoarder--I admit it.
I have built literally EVERYTHING out of corrugated cardboard, corrugated, printed paper, hot
glue and duct tape. I also have a wonderful husband and some great Performing Arts dads and
grandads when wood and tools are required. For today's performance, since we didn't have a full
stage with wings and a curtain, we scaled way back and used backdrops and minimal stage props.
As a general rule, I handle scene changes by switching between front-of-the-curtain scenes (while
we change the scenery behind the curtain) and on-the main-stage scenes. I like to use a lot of
"realia" (I made that word up)--real things sitting around, as opposed to things painted on a
backdrop, whenever possible. I use a company called Shindigs to purchase a lot of props (my
realia) that you put together. Many of these are affordable and simply to assemble--but use a
really good glue gun, not the double sided, sticky tape provided!
PRESENTATION--For many years, I've gone a bit "over the top" on the program. I like to
make it as professional-looking as possible. So I make Headshots of all the cast members, and
they each fill out a bio sheet about themselves. Some years we photograph them in their
costumes for their headshot, other years we do a plain black shirt against a plain black
background. I think it makes them feel more special, and emphasizes that every single member
of the cast is equally important to the production. I have to remind them each morning on the
intercom/news that they are to stay after school for headshots and what they are to wear--it takes
some effort. Then I collate, type up their bio and then use the "half-fold tall" greeting card format
in Print Shop for Mac (6-8 times) and get all of them ready to insert into the program.
The program cover is usually some artwork, which ties into the t-shirt and the publicity
posters, along with information about the group, the date of the show, our school, my name as
director, and our school administrators. I also include inside the program the Program Order,
Headshots with Bios, Ads from local businesses and our Community Partners and donors, pages
purchased by parents in support of their children in the play, and VERY IMPORTANTLY--all
the many, many "Thank Yous", because there are many, many.
And finally, the performance itself! In order for things to flow smoothly, there are
several crucial things that must take place. If at all possible, get the group into the venue 2-5
days ahead of the show, to begin running through the performance in costume with set changes
and all props. Plan for the first of these run-throughs to go very slow as you train the backstage
adults who will be serving as supervisors. Make sure each of them has a flashlight and a wellmarked script, and stop to answer every single question they have! If at all possible, headset
communication devices are wonderful--one for you, one for your adult backstage manager on
each wing (so two), and one in the sound/light booth. Make sure you have already assigned
parents to man the concession/souvenir/program sales table out front and secure the lockbox of
money at the end of the evening--you'll be too busy. And VERY IMPORTANT--make sure you
have a reliable Strike Team (people to disassemble the stage and clean everything at the end)
assigned. Take a deep breath, give the downbeat and enjoy! Break a leg 
Notes:
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Vision
Maki ng The Magic
Happ en
Presente r - Jean Thibode au
• 3-6 months prior to auditions
• Strong drive to provide high quality
performance opportunities for students.
• Desire to teach to a higher level than others
expect them to learn or accomplish.
• Dedication to work toward perfection, and talk
frankly with them about what’s entertaining
and what isn’t.
• Love for your students that is expressed
through your commitment to their success.
Selection
Administration
• 1-3 months prior to auditions
• Establish an open line of communication
about the idea.
• Clearly state your vision, and what you’re
willing to contribute.
• Have the details worked out and your
questions concise.
• Acquire the information you need to make
informed decisions about your plan.
Promotion
•
•
•
•
August-September
Daily school news broadcast
Regular school intercom reminders
Posters up around school about
auditions
• Veteran returnees talking to potential
recruits who they believe to be talented
and interested
•
•
•
•
•
•
2-6 months prior to auditions
Know the piece
Know the students
Know the community
Know the facility
Know the sound and lighting provisions
available
Auditions
• August-September
• Prepare audition material (dialogue excerpts
and vocal pieces) and pass out
• Give two weeks to memorize, then hold
auditions--I assign 50 points to dialogue, 50
points to vocal--and I have understudies.
• Auditions are individual and must be
memorized for consideration, but I try to give
everyone a part of some kind if they seem
truly interested, and attend rehearsals on a
regular basis.
1
Acqui$ition
•
•
•
•
Throughout the school year
Community Partnerships
School Dances (sell concessions)
Fundraisers (sell boxes of candy, or soda and
chips after school out of the music room for
half an hour)
• Ads for Program
• Parent Ads for Program
• EXHIBIT HALL!!!!
Preparation
•
•
•
•
•
August-September
Secure rehearsal facility
Post Cast list
Prepare rehearsal schedule and distribute
Compile database information for all cast
members
• Appear on school news or intercom frequently for
reminders about “rehearsal today!”
• Assign student leaders (sound techs, student
director, backstage, videographer--experienced
students)
Perspiration
• September-March
• Read-through--teacher model vocal pieces,
inflections, expressions, emphasis, etc…
• Begin dividing script into first large, then
smaller and smaller chunks, as the students
begin to become familiar with it.
• Remove scripts from the hands of the actors
and begin using prompters
• Add choreography where it makes sense-where it flows naturally and enhances the
music
Fashion
•
•
•
•
•
•
•
STAGE
September-January
Backdrops
“Realia”
Props
Front of Curtain (forestage) - Behind
the Curtain - transition blocking
Double corrugated cardboard
Corrugated paper/pre-constructed pieces
Fashion
•
•
•
•
•
•
•
•
•
COSTUMES
September-October
Local costume shops
Goodwill
Parents who can sew
Internet costume sites
Individuals buying their own costumes
Everything $1 stores for individual pieces
Borrowing from high school
Renting from MTI or other school
Presentation
HEADSHOTS
• November-December
• Schedule, promote and FREQUENTLY REMIND that
there will be headshots taken on “_______________” in
a plain black shirt (or costume, if you prefer)
• Organize the photos in a folder in iPhoto
• Have each child (or parent) fill out a “bio
sheet” listing information about themselves including
such things as parents’ names, age, grade, hobbies,
other plays they’ve been in, plans for the future, etc….
2
Presentation
Sample
headshot
bio
page
Presentation
PROGRAM
• January-March
• Select artwork for front--match to
t-shirt and Advertisement Posters?
• Program Order
• Headshots and bios (optional)
• Ads
• Parent support ads
• THANK YOU’S VERY IMPORTANT!
Questions?
PERFORMANCE
•
•
•
•
March-May
Principal Intro
Backstage adults trained and confident
Flashlights, marked up scripts in all backstage
hands, specific assignments
• Headsets for communication with sound, lights and
backstage
• Program, souvenir and concession sales
• Strike Team--plans for set pieces after show
3
OUR MOST SINCERE
THANKS TO
Warren County
Public Schools,
Tim Murley--Superintendent
For your continued
support of our
Performing Arts Program
at
Lost River
Elementary School
Jim Goff, Steve Sanders, Tim
Murley, Glenn Thibodeau,
Ashley Merideth, Dana
Wallace, Melissa Dillard, Chris
Calvert, Jessie Hussung, Nicole
Lyons, Annette Garcia, Sheila
& Jeremy Stephens, Taletha
Gutawski, Tyler Gross, Theresa
Stokes, Jodi Resch, Cassidy
Resch, Athena Duckett,
Patricia Boyd, Liz Maynard,
Shawna Cleveland, Rosa
Kusmic, Norwanna Wilson
SCENE ONE: The Ocean Surface
"Fathom's Below"
SCENE TWO: King Triton's Court
"Daughters Of Triton"
SCENE THREE: The Beach
"Human Stuff"
SCENE FOUR: Ursula's Lair
SCENE FIVE: King Triton's Court
SCENE SIX: Ariel's Grotto
"Part Of Your World"
SEBASTIAN & FLOUNDER EXPLAIN
SCENE TWENTY: The Beach
"Part of Your World" Finale
"Under The Sea" Bows
Directed by Jean R Thibodeau
"Ariel"...................................................................................Chloe Persinger
"Prince Eric"...........................................................................Cade Stephens
"Sebastian".................................................................................Piper Eades
"Flounder".............................................................................Nathan Stokes
"King Triton"..............................................................................Lance Link
"Mersisters".................................................Yaz-Ree Collins, Jessica Rivas,
Allie Hickman, Laura Hickman, Zoi Reed, Kyleigh Ray
"Ursula"...................................................................................Addie Rogers
Flotsam.............................................................Griffin Carter, Eli Bellamy
"Jetsam"........................................................................................Terry Reed
"Scuttle"..................................................................................Reese Pearson
"Gully".....................................................................................Genna Miller
"Grimsby".............................................................................Ethan Stephens
"Chef Louis"................................................................................Levi Burns
"Carlotta"................................................................................Cassidy Resch
"Princesses"...............................................Kate Rogers, Aaliyah Whitfield,
Takiyah Whitfield, Arijana Martin, Keandrea Cofer
"Sailors"..............................Cassidy Resch, Griffin Carter, Bobby Ramirez
"Seahorse".....................................................................................Jax Rogers
"Sea Chorus"..............................Sumea Alic, Edie Burns, Athena Duckett,
Kyra Markel, Ja'Niyah Sanders, Tristan Lentrz, Kenzie Meece,
Alli Rice, Mykayla Tanner, Chyann Rigsby, Shelby Barman, Jaylen
Dorrance, Aubrie Cross, Jon Paul Blomeier, George Nguyen, Gracie
Kitchens, Ta'Niyah Sanders, Cassidy Resch, Bobby Ramirez, Alissa
Hamzic, Andrea Cowles, Griffin Carter, Annabelle Ausbrooks, Alyssa
Connor, Emili Murrillo, Malaki Mason, JocelynAlfaro, Chloe Potter,
Sound Technicians..............Tyler Bentley, Tanner Cosby, Andrew Cowles
Backstage.................Macy Kitchens, Mykayla Meeks, Elaina Emberton,
Gabby Wilson, Aliyah Woodard