ISTA/Scene March 07

ng in Schools
and then set them about the task of
critiquing the idea. Their critiques had
to be based on research and theory as
well as the potential that the idea had
for bringing the play to life on stage.
They were very much the design team.
By the end of May, the idea had been
solidified enough so that one of the
students took on the task of bringing
the costumes to life. She was in
London in the summer and met with
ISTA’s David Lightbody to get some
design help. She came back in the fall
with full designs. She then turned
those over to another IB student who
was in charge of actual costume
construction, including fabric
purchasing and working with the tailor.
Nearly all IB Theatre Arts students
were involved in some aspect, either
on stage or off. The process for all the
students was invaluable. They saw the
birth of an idea and worked with it until
they saw it (or acted it) on stage. Their
ability to understand the intricacies of
design and production grew
significantly and the process clearly
impacted their own work. As a school
theatre director/teacher and given
whatever constraints (real or imagined),
I find myself avoiding the same steps
that I require of my students. This
process put into perspective exactly
what I ask them to do on a regular
basis with design and production. It
also gave them the kind of emersion in
a project they do not normally get.
ALL IN THE TIMING and TIME
FLIES: One Act play collections of
David Ives: Vintage Books and
Grove Press, respectively.
I have found this one night production
to be a great way to start a year. At
AES, with students moving in and out
yearly at a rate of about 20%, it is
difficult to know what kind of large
production the students are able to pull
off. An evening of one-acts gives me
as director the ability to choose pieces
of varying difficulty, while at the same
time giving around 20 students the
opportunity to have meaningful roles
on stage. I am a huge fan of David
Ives. His style lends itself to
challenging pieces for talented
performers (SURE THING for example),
but also lets students with less
experience learn the art of timing
(ARABIAN NIGHTS, CAPTIVE
AUDIENCE). The school community
audience can easily tolerate the short
acts and the sophisticated humor
behind Ives. The feedback for the
actors is always instant and gratifying.
COMPLEAT WRKS of WLLM
SHSKPR: abridged, Borgeson,
Long and Singer, Applause Books
This is the most recent production at
AES. Two graduating seniors dragged
their IB teacher on stage to perform
this well-known comedy. The
stipulation from this teacher was that
he have nothing to do with the
production except acting. Students
would be responsible for all elements
of production. They agreed. The play
is an intense production experience in
that while only three actors are on
stage, the supporting crew required 8
members not including the student
director. Most of these 9 were rather
prolific on stage, but had little or no off
stage experience. A baptism by fire!
Again, the play was fine, but the
process was the beneficial aspect.
They really ran all elements of
production-set design, costume
design, posters and tickets, props,
directing: they did it all. The play was
pulled off in four weeks requiring an
intense effort from all. And while the
acting was a great penultimate
experience for the seniors, it is the
students who worked backstage that
still talk about this play. This piece got
the “stage junkies” in the wings to fully
appreciate the enormity of work that
goes into a production.
MY FATHER’S DRAGON based on
the book by Ruth Stiles Gannett
The Thespian Society takes on as its
community service goal to bring
theatre to the drama starved
elementary students. Thespians put on
an annual theatre workshop for grades
3-5 with 50 to 70 students who show
up for the full day of theatre games
and mini-workshops. Two years ago
they extended that to create a full
theatre experience for the students.
The popular children’s story MY
FATHER’S DRAGON had been
adapted to music by the high school
music teacher. It provided a great
vehicle for an elementary show: flexible
casting allowing for between 40 and
70 students, outrageous costumes,
and individual stage time, even for the
smallest of parts. In addition, it meant
that the Thespians could (had to) all be
involved. They managed the entire
production, from audition to closing
curtain. They were in charge of makeup
design and application, costume
design and application, blocking and
direction, choreography, everything.
Calderdale HS
Scene | 2006-7 March Issue 3 | 3