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]]>This fall, I learned about dramaturgy for the first time by serving as a dramaturg for my college theatre department’s production of Lost Girl, written and directed by Professor Kimberly Belflower. Dramaturgs perform the research and story analysis that make a play come alive for the actors and creative team. They’re also often responsible for creating the “actor packet,” a short research document with information relevant to the play.
4 Tips for Creating a Great Actor Packet
The actors use this packet to gain more context about the themes present within the script, essentially helping build the story from the inside out! While there’s plenty to learn, here are four of my biggest lessons creating my very first actor packet.
1: Read the play.
First, sit down with the play and read it thoroughly. It helps to make note of what you notice while reading. Do certain character dynamics stand out? What themes seem particularly clear? Does the ending make sense, or is it more ambiguous? Is the style realistic or not?
Once you finish reading the play, ask yourself one key question: What information do actors need to know to tell this story well?
The answer to this question can come in the form of themes, historical context, storytelling devices, information about the play’s genre – the options are endless. You’ll research many different things while working on your actor packet, but answering this question for yourself narrows your focus.
2: Research the context.
Next, begin your research into the play’s context, as this often determines so much about the story from the start. Context is the particular lens through which the author, director, and/or creative team approach the material, informing how characters relate to each other and how they interact with the setting.
For example, Cabaret is a story about a passionate love affair between a British nightclub singer and an American author. However, its context is that it’s set in Berlin on the eve of the holocaust, and this affects how the actors might portray the story. Knowing details about the world the story is set in helps you understand what different characters value.
Even if the play takes place in the present, do some broad Google searches into a play’s historical setting and geographical location. What was happening in the world at the time when the play takes place? Where is the play located in the world, and how has that location been impacted by global issues?
Make a bullet-point list of the most relevant facts that actors should know. The list doesn’t have to include everything – just enough information to provide some background. At the end of the actor packet, include some links that actors can reference if they would like more information.
Think of it like drawing: by providing historical context in the actor packet, you’re outlining the sketch. Next, you’ll focus on the smaller details of the story and add some color.
3: Explore themes and genres.
In every play, the playwright wants to communicate a message about the world. They do so by exploring conflict between characters and the world around them. You can help the actors understand the themes of the story by pointing to works with similar themes. Everything you include in the actor packet helps the actors to ground themselves within the story.
For example, if the play you’re working on is a romance that ends tragically, you can provide a list of other romances that end tragically. Actors can read or watch these stories to understand the nuances of the emotions they will portray onstage. When actors understand a play’s genre, they can also work to understand what makes this particular play different from stories of the same genre. Different themes and approaches set stories apart.
While creating the actor packet for Theater Emory’s production of Lost Girl, the dramaturgy team included information about different genres: fantasy and coming-of-age. Lost Girl is inspired by the story of Peter Pan and follows Wendy Darling after she returns home from Neverland and tries to start her life again. We wanted to have a section of the actor packet that talked about tropes commonly found in both genres so they could understand how the play works with and subverts those tropes.
4: Study the characters.
Once you’ve provided research about the context, themes, and genre of the play, shift your attention to the characters. Every character pursues different goals and experiences conflict along the way, and actors seek to find out why they act the way they do. You can help them in this process by sharing research related to psychology and behavior.
For example, if a character is grieving a loss, including a scientific article about grief makes it easier for an actor to understand the character’s emotions. While working on the production of Lost Girl, which focuses on Wendy’s heartbreak after losing Peter Pan, the dramaturgy team provided research about mental health in the actor packet to contextualize why Wendy struggles to move on.
However, always be careful that the sources you include are accurate, professional, and trustworthy. If you have any questions about whether you should include a source, be sure to ask your theatre teacher. It’s best not to try to explain the characters, but to share interesting pieces of research that empower actors to draw their own conclusions.
Once you compile all your research, you’ll have a completed actor packet ready to distribute! Your research and attention to detail will help the cast and creative team see the story in a kaleidoscope of different ways.
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]]>What is dramaturgy, you ask? (Or you do not ask because you don’t even know how to pronounce dramaturgy!)
One of the most fascinating, and mysterious, jobs in theatre is that of the dramaturg. Tasked with understanding the story and all of its many components, a dramaturg can be crucial when developing a script and preparing it for the stage. Dramaturgs typically work with playwrights, directors, designers, actors, and/or producing theatre companies.
In this article, we’re demystifying dramaturgy. We’ll take a look at the craft itself, how dramaturgs chart their career, and what skills lend themselves to the role.
WHAT IS DRAMATURGY?
The basic definition of dramaturgy is “the art or technique of dramatic composition or theatrical representation.” It comes from the Greek word dramatourgía, meaning “a dramatic composition” or “action of a play.” In essence, dramaturgy is the practice of understanding the structure, context, characters, language, and themes of a play. It can also apply to opera and film.
What does the dramaturg do?
● Analyze play scripts and librettos
● Perform research about a variety of story elements
● Consult the playwright on a script’s form and structure
● Support the development of a new script, revival, or adaptation
● Advise the director, designers, production team, and actors
● Write educational or supplementary content for audiences
● Maintain knowledge of a show’s production history and author(s)
● Consult outside subject matter experts if the material calls for it
● Consider how the production will connect with today’s audiences
The role of a dramaturg can vary from production to production. Some dramaturgs work as freelancers and independent contractors, and some work in a theatre company’s literary department. This makes dramaturgy one of the most flexible careers in theatre.
Despite this range of tasks and functions, every dramaturg has the same basic objective. Catherine Sheehy, Chair of Dramaturgy & Dramatic Criticism at David Geffen School of Drama at Yale University, describes it in a video: “It is the dramaturgy which connects that work to its maker, its audience, and its cultural context. And it is the dramaturgy which connects all of those three to each other.”
KNOWING THE WORLD OF THE STORY
A dramaturg’s in-depth research informs and enhances the world of the story. That might include analyzing the time period of the play’s setting.
For example, August Wilson’s Century Cycle includes a series of ten plays that represent the Black American experience in each decade of the 20th century. A dramaturg would perform research on the time period’s major news items and events, details about typical daily life in a certain region, social dynamics between different groups of people, artistic and cultural movements, and other factors that influenced the lives of Black Americans as they’re relevant to the characters. In doing so, a dramaturg provides key insights about historical accuracy.
A dramaturg can also provide a look at a show’s production history, source material and origins, context around the material, and information about subjects in the story.
With The Curious Incident of the Dog in the Night-Time, for example, a dramaturg would research all of these areas. The play is based on a best-selling novel by Mark Haddon. Its world premiere production earned the show a reputation for its sophisticated technology and physical movement—an artistic and intentional choice made by the director and production team. There are also important interpretations of the show’s protagonist, Christopher. He has unique sensory challenges that are integral to his character development and the choices he makes.
In these scenarios, the dramaturg’s work can inform how a director approaches the material, how actors bring the characters to life, how designers envision sets and costumes, and how a theatre might supplement the production through educational materials and audience engagement opportunities. They might also consult with experts who already have a deep well of information about show-specific subjects, characters, and themes.
CONSULTING ON THE CREATIVE PROCESS
The scope of dramaturgical work for any given production depends on the needs of the artists and the theatre who is producing their work. Primarily, a dramaturg is there to support the playwright and their story with research, leaving creative decisions to the artists.
In an insightful interview with MusicalWriters.com, dramaturg/writer/scholar/creative executive Ken Cerniglia describes the basics of dramaturgy and his experience as full-time dramaturg and literary manager with Disney Theatrical Productions. His biography says that during his 16 years in this role, he “developed over 70 titles for Broadway, touring, international, and licensed productions, including The Hunchback of Notre Dame, Freaky Friday, Aladdin, Newsies, The Little Mermaid, High School Musical, and Tarzan.”
He says in the interview, “[P]art of my job is to bring relevant historical facts into the creative discussion to enable informed decisions. You can’t take artistic license if you don’t even know what you’re departing from in the first place, and more importantly, why. At the same time, if you’re rigid about historical and scientific accuracy, you risk being boring.”
Cerniglia then explains how his dramaturgy helped Disney bring the theatrical adaptation of the 1992 movie musical Newsies to Broadway. He performed research about the actual 1899 New York City Newsboys Strike, and how historical figures like publisher Joseph Pultizer (the musical’s villain) played a role in it. His research provided important context that helped the creative team make some changes from the source material that enhanced the story but still maintained historical accuracy.
He describes, “The musical’s book writer, Harvey Fierstein, also invented the character of Katherine, which was the name of Pulitzer’s oldest daughter, but Fierstein made her a reporter—a young career woman—and a love interest. This choice provided our 21st-century musical with an appealing female lead and juicy second-act plot complications. Although not historical, Katherine Plumber was historically plausible; our research into journalist Nellie Bly, who was famous decades before 1899, helped inform the development of the character.”
WHAT MAKES A SKILLFUL DRAMATURG?
Dramaturgy is an ideal area of expertise for those who are passionate about theatre and gravitate to roles off stage. It’s essential to have general knowledge of the theatrical art form and its history. It’s also important to know how a play comes to life and who’s responsible for what during production.
Dramaturgs who excel in their field commonly have the following characteristics:
● They love to read, write, and research new topics.
● They have a strong grasp of literary analysis, including narrative structure, character development, symbolism, and language.
● They work well both independently and collaboratively.
● They’re detail-oriented and keep their work organized and clear.
● They’re sensitive to and respectful of the creative process.
● They’re observant, curious, and open-minded.
● They consider how art, in all its forms, relates to larger social and cultural contexts.
Does this sound like you? If so, the field of dramaturgy might be calling!
Natalie Clare is a regular contributor to Dramatics. She’s a freelance writer who specializes in arts and culture, and is based in Cincinnati, Ohio. Visit her work at nataliecwrites.com.
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]]>Dramaturgs: What are they and how they improve the show. We know that actors act. Directors direct. Writers write. These theatrical careers have clear, defined responsibilities. Even those least interested in theatre can name a handful of famous actors, directors, and writers. But who was the dramaturg of your favorite play or musical? How many notable dramaturgs can you name?
One of the most difficult tasks a dramaturg can perform is defining dramaturgy. Literary Managers and Dramaturgs of the Americas, a group that represents hundreds of dramaturgs in North America and elsewhere, describes the role as someone whose job is to “contextualize the world of a play; establish connections among the text, actors, and audience; offer opportunities for playwrights; generate projects and programs; and create conversations about plays in their communities.”
Dramaturgs operate as the “Swiss Army knives” of their production team, using whatever skill set is required to get the job done. If weaving together a production through textual analysis, research skills, and workshopping sounds like your cup of tea, dramaturgy might be right for you.
WHAT IS DRAMATURGY?
The responsibilities of a dramaturg are so vast and varied that their roles often differ substantially from production to production. “The greatest thing a dramaturg gets to do is be an expert in the world of the play,” said Shelley Graham, instructor of dramaturgy at Brigham Young University. Dramaturgs do this on new plays by working with directors, actors, and playwrights to hatch their combined vision. They also work on new productions of established plays, advocating for the text and applying it to reimagined concepts. While this may seem daunting, especially for larger works, we can break down the dramaturgical process into a couple of key steps.
Be curious and ask questions
Curiosity is one of a dramaturg’s most crucial traits. Sometimes, both with new plays and familiar ones, asking the right questions can make or break a production. Dramaturgs ask, “What are the rules of the world? What are the relationships between characters? How does time work in the world of this play?” As the source of limitless questions, dramaturgs allow playwrights, directors, designers, and actors to expand their understanding of the script and create a world that is cohesive and accessible. Dramaturgs must then think critically to know where to find answers to the questions they ask, whether that means digging into a script, researching a play’s history, or speaking with designers and directors about their processes and perspectives on the text.
Examine the context and make connections
No play exists without context. There is the context of the original play, the context of the setting, and the context of the contemporary world in which the audience lives. When conceiving work, directors often ask, “Why do this play now?” Dramaturgs expand this question by making connections to audiences and the larger community. Dramaturgs may also help create articles or activities in the show program or set up a display in the lobby to introduce audiences to the themes of the world created onstage.
New York-based Stairwell Theater set its 2018 production of Romeo and Juliet with opposing basketball teams. Photo by Sam Gibbs.
WHAT MAKES A GOOD DRAMATURG?
According to Julie McIsaac, resident dramaturg at the Canadian Opera Company, “If you find people are often asking you what you think, and with this, you find yourself recognizing patterns, drawing connections, and asking further questions that open up the conversation, you might be a dramaturg.”
Dramaturgs come from all backgrounds and specialties, and they often find themselves becoming career multihyphenates. It is not uncommon for a dramaturg to act, write, direct, or design. The following traits are vital to those considering dramaturgy as a career.
- You love to read.
- You are interested in everything.
- You are an ardent fact checker.
“I find myself thinking about the Heraclitus quote: ‘No man ever steps in the same river twice, for it’s not the same river, and he’s not the same man,’” McIsaac said. “What I love most about dramaturgy is that every project is different and, therefore, asks new and different things of me, which means my process and artistry are ever-evolving. Lifelong learning in a creative environment: What a gift!” 
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]]>Defining what a dramaturg does in one tidy sentence is hard to do. The dictionary says a dramaturg is someone who specializes in dramaturgy. Here’s a link to Dramaturgy 101 that will help you if you want more detail. Or you can simply read on and let Ken Cerniglia give you his definition of what he does as a dramaturg.
How do YOU describe what a dramaturg does when people aren’t familiar with your work?
I often use the analogy of a book editor working closely with an author. The author’s name appears on the book’s cover, but the work of the editor permeates the manuscript. The editor and author collaborated on draft after draft to create the final book.
In theatre, a dramaturg and playwright collaborate. The dramaturg nurtures and supports the playwright’s voice with well-timed feedback on structure, content, context, and audience expectations. Like an editor, a dramaturg also works with other departments (marketing, production, audience engagement, etc.) to make sure they understand the work and represent it well in their efforts.
A good dramaturg’s work is rarely recognized by the audience. My greatest reward is knowing that I helped my colleagues unlock the full potential of their work.
What personality traits and/or skills are well-suited to becoming a dramaturg?
Curiosity, empathy, listening, humility, timing. Given my training in theatre history, structural analysis, and dramatic criticism, some might think I judge the work, like a theatre critic might. So, I frequently remind my collaborators—playwright, director, producer, designer, etc.—that I’m just the “suggester” and they are the deciders! My job is to identify possibilities, to ask timely and helpful questions to spark the creative process and excite and enable my collaborators.
What show, experience, or person (or all three) helped you know that this is the work you love doing and that you’re so well-suited to do?
In high school and college, I focused on performance, as many young theatre folks do. I also dabbled in directing and producing—none of which I liked enough to train in further for a career. Being an endlessly curious nerd, in grad school I studied theatre history and dramatic criticism to eventually become a college professor.
Spoiler alert! I never became a professor because in my first dramaturgy class something clicked. I discovered I could apply my love of history, philosophy, analysis, and criticism to the making of theatre. That artistic specialty had a name: dramaturgy. And it called me, loudly.
I soon landed a literary internship at D.C.’s Arena Stage and was production dramaturg for two mainstage productions: Eugene O’Neill’s A Touch of the Poet, directed by Michael Kahn, and Jon Klein’s new play Dimly Perceived Threats to the System. Despite my intern status, these generous veteran theatre-makers treated me like a professional and expected professional work. As they validated my contributions to their work, my spine straightened and my career as a dramaturg was born!
What do you wish you’d known or done when you were a student or just beginning that would’ve helped you?
I wish I’d recognized my vocation in college, or even high school, and begun my dramaturgical practice then. Each book I read, each play I see, each production I work on, is another notch in my dramaturgical understanding. I’m now 25 years in, and still feel I have so much to learn. A five-year head start would have been amazing!
Today there are scores of books on dramaturgy and tons of online resources available to potential dramaturgs—none of which existed during my youth (in the previous century!), making the field relatively inaccessible or rarified then. All that has changed. Dramaturgy for everyone!
What haven’t we asked you about that you’d like to share?
If you’re the kind of kid—young or old—who loves theatre but can’t help asking the relentless “why” questions, chances are you’re a dramaturg! We welcome you to our vibrant, diverse, and generous dramaturgical fold.
Ken Cerniglia is a veteran dramaturg, writer, creative consultant, and organizational leader. His dramaturgy includes the Broadway hits Hadestown and Peter and the Starcatcher. During his 16 years at Disney Theatrical Group, he developed more than 70 titles for Broadway, touring, international, and licensed productions, including The Hunchback of Notre Dame, Freaky Friday, Aladdin, and many more. Ken is currently writing three new musicals and dramaturging another dozen projects. He is immediate past president of Literary Managers and Dramaturgs of the Americas and holds a Ph.D. in theatre history and criticism from the University of Washington.
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]]>ACTORS ACT. Directors direct. Writers write. These theatrical careers have clear, defined responsibilities. Even those least interested in theatre can name a handful of famous actors, directors, and writers.
But who was the dramaturg of your favorite play or musical? How many notable dramaturgs can you name? What is a dramaturg, and how do you know if you are one?
One of the most difficult tasks a dramaturg can perform is defining dramaturgy. Literary Managers and Dramaturgs of the Americas, a group that represents hundreds of dramaturgs in North America and elsewhere, describes the role as someone whose job is to “contextualize the world of a play; establish connections among the text, actors, and audience; offer opportunities for playwrights; generate projects and programs; and create conversations about plays in their communities.”
WHAT IS DRAMATURGY?
The responsibilities of a dramaturg are so vast and varied that their roles often differ substantially from production to production. “The greatest thing a dramaturg gets to do is be an expert in the world of the play,” said Shelley Graham, instructor of dramaturgy at Brigham Young University. Dramaturgs do this on new plays by working with directors, actors, and playwrights to hatch their combined vision. They also work on new productions of established plays, advocating for the text and applying it to reimagined concepts. While this may seem daunting, especially for larger works, Graham breaks down the dramaturgical process into four steps.
Be curious and ask questions
Curiosity is one of a dramaturg’s most crucial traits. Sometimes, both with new plays and familiar ones, asking the right questions can make or break a production. Dramaturgs ask, “What are the rules of the world? What are the relationships between characters? How does time work in the world of this play?” As the source of limitless questions, dramaturgs allow playwrights, directors, designers, and actors to expand their understanding of the script and create a world that is cohesive and accessible.
Think critically about text
Thinking critically means knowing where to find answers to the questions you have asked. For textual questions, that means going through the script and sifting through denotations and connotations of certain words, reading scholarly material about plays and their histories, or looking to print and web sources to better understand the playwright’s life. For creative questions, it may require speaking one-on-one with designers, directors, and actors about their process, their understanding of the text, and perspectives you can offer based on your experience and research.
Examine the context
No play exists without context. There is the context of the original play, the context of the setting, and the context of the contemporary world in which the audience lives. If you are setting a production of Romeo and Juliet in modern times with the concept that the feuding families represent divergent political factions, you will have many contexts to consider. You’ll need to understand Shakespeare’s original text, the language and culture surrounding his authorship, and the play’s meaning. You’ll need to examine your play’s context. Are you using real political parties? Is the production set in the United States? Who belongs to which party, and what in the text supports those decisions? Dramaturgs sometimes assist the production team through a workshop with actors to make sure they can embody these ideas. Finally, the context of the audience’s world must be considered. Dramaturgs research what’s happening in politics now and whether plot points in this version of Romeo and Juliet occurred in reality.
Make connections
No play exists in a vacuum. When conceiving work, directors often ask, “Why do this play now?” Dramaturgs expand this question by making connections to audiences and the larger community. Going back to our Romeo and Juliet example, is there an issue in your community that resonates with the play? Is there something you could pair with the play to help audiences apply it in their lives, such as a preshow lecture on the political system? What questions could you ask the audience after the show to get them thinking about their own applications of its story? Dramaturgs may help create articles or activities in the show program or set up a display in the lobby to introduce audiences to the themes of the world created onstage.
Dramaturgs operate as the “Swiss Army knives” of their production team, using whatever skill set is required to get the job done. If weaving together a production through textual analysis, research skills, and workshopping sounds like your cup of tea, dramaturgy might be right for you.
WHAT MAKES A GOOD DRAMATURG?
According to Julie McIsaac, resident dramaturg at the Canadian Opera Company, “If you find people are often asking you what you think, and with this, you find yourself recognizing patterns, drawing connections, and asking further questions that open up the conversation, you might be a dramaturg.”
Dramaturgs come from all backgrounds and specialties, and they often find themselves becoming career multihyphenates. It is not uncommon for a dramaturg to act, write, direct, or design. The following traits are vital to those considering dramaturgy as a career.
You love to read.
You’ve always been a voracious reader, and you’ve devoured books from every genre and every period, from ancient poetry to graphic novels. You like to read, and you like to do it quickly.
You are interested in everything.
Are you always declaring a new favorite subject? Do you have a tough time deciding what to have for dinner, or which holiday is your favorite? Do you feel your taste is always changing in television shows or dress styles? While this can feel frustrating, it’s a wonderful dramaturgical skill. The ability to immerse yourself in a single universe for an entire production period ― then pick up and move to another ― is crucial for dramaturgs.
You are an ardent fact checker.
Are you the friend always pulling out your phone during a film to check things such as “Did they have telephones in the American West during the battle of the Alamo?” or “Did this film come out before or after the Civil Rights Movement?” If you can’t let go of the idea that someone wore a costume in a non-period fabric or a biopic left out what you find most interesting about the subject, you are already thinking dramaturgically. Consider what you may have done differently and consider why the filmmakers made the choices they did.
You always know how something should have ended.
Dramaturgs know dramatic structure inside and out. If you find yourself explaining the ending of a show or movie to your friends, you may already have a knack for this work. Plot holes, character inconsistencies, and lack of clarity in storytelling bother you more than anything, and you can tell when a film or play’s pacing is too quick, too slow, or just right.
“I find myself thinking about the Heraclitus quote: ‘No man ever steps in the same river twice, for it’s not the same river, and he’s not the same man,’” McIsaac said. “What I love most about dramaturgy is that every project is different and, therefore, asks new and different things of me, which means my process and artistry are ever-evolving. Lifelong learning in a creative environment: What a gift!”
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]]>YOU’VE BEEN CAST in your dream role, the lead of your favorite musical. You sit patiently waiting for your director to hand you a script. When you scan its pages for the first time, it’s like opening a portal to a new world. There are endless possibilities. Dreams come to life with every page turn and every line you say.
Then reality sets in. You freak out about how many lines you must memorize, the number of costume changes you’ll need to make, and all the props and blocking that go into putting on the show. You wonder how you’ll keep up.
CHARACTER DEVELOPMENT
The answer is found in character development. Character development often seems elusive. It’s so personal and has endless paths. But all these paths filter into two categories: Inside-Out and Outside-In.
- Inside-Out is the process of determining the inner world of the character and using that information to inform how your character walks, talks, and interacts with others.
- Outside-In is the process of exploring how your character walks, talks, and interacts with others and using that information to create your character’s inner world.
To develop a fully realized character, you must know your character inside and out. You must understand every action they take, from both a physical and mental standpoint. Without connecting the two, you end up with a one-dimensional character.
If you just develop your character on the outside, you’re simply emoting ― displaying emotions without intention or action. If you only develop your character internally, the audience will never see the intricate inner world you’ve created. You need to know which questions to ask so you can identify the important given circumstances and stakes. Dramaturgy helps you start.
WHAT IS DRAMATURGY?
The classical definition of dramaturgy is the theory and practice of dramatic composition, which drums up images of old college professors paging through decaying books. Another and more exciting way to define dramaturgy is the excavation of the story hidden inside each script. Dramaturgs connect the text of a play to the world in which the play exists, then connect the world of the play to the real world we inhabit.
As an actor, your job is not to make all these connections, but the connections you need to make are the most important in the process. You must discover who your character is by understanding both their world and their role in that space. Making this connection creates the inner world for your character. At first glance, this seems daunting, but don’t worry. You don’t need to read 50 books or write a research paper to create your character’s inner world (unless you want to). Instead, you can use four relatively quick dramaturgical questions to guide you.
In what period does this show take place?
Time periods are different from calendar dates. A time period encompasses the political and social movement of a chapter in history. A dramaturg’s role is to have a deep and expansive understanding of the time period. As an actor, you just need a snapshot.
For example, say you have been cast in a production of Hairspray. America in the 1960s was tumultuous and complicated. You could spend years researching and writing about this period. As an actor, you need to ask yourself what is important to know for the stakes of the story to be clear. To start, it is crucial to understand the history of segregation, specifically in Baltimore, where Hairspray is set. It is not enough to know segregation happened. You need to know why it happened, how it manifested in communities, how it impacted the Black community, and how people protested and tried to dismantle it. Depending on your character, you may need to research the Women’s Liberation Movement and conflicts among generations. Since music is also important to the show, it may help to look at music styles prevalent during this time and what impact they had.
Again, you don’t need to be a historian. Strive instead to be an informed actor.
What were the social norms of this period?
Imagine 30 years from now that you are in the audience of a play set in Summer 2020. There’s a scene between a group of friends and, as they enter, they all hug each other and sit in a tight circle as they converse.
If any of the actors (or the director) in this hypothetical scenario had researched social norms of 2020, they would very quickly have learned that close physical contact was not widely accepted and, in fact, dangerous. Understanding social norms allows actors to make choices aligned with the world of the play. Looking at trends related to dating, gender, family dynamics, class, and religion or spirituality are just a few places to start your investigation. When you know more about social norms, you can make informed decisions that highlight a play’s themes.
Is your character a conformer or nonconformer?
The time period gives you an outline. Social norms give you a palette. Now, you decide what colors you’ll use and how you’ll use them.
A rule of thumb: If you are in the ensemble, you fall into the conformer category, and if you are a lead, you’re a nonconformer. Stories revolve around conflicts that arise when a character challenges the status quo. The status quo represents the general social norms held by a larger community, so that philosophy is generally represented by the largest group of characters onstage: the ensemble. The nonconformer is the loner fighting for change, which is not always good. (See Billy Bigelow in Carousel.) The conformers fight to keep intact the world they stand for or that benefits them most.
In musical theatre, this is why the ensemble sings the same words, with a similar sentiment. The nonconformer’s voice gets lost in the sea of status quo voices and must break free to be heard, also known as a solo.
Ask yourself: Would your character use the palette to complete a beautiful composition by coloring inside the lines? Or, would they create original work by disregarding the outline and drawing over its top?
Are there historical figures or real-life humans you can use as inspiration?
If you have a hard time determining how all the research you’ve collected would shape a human, you could use a real person from the same period as the show for inspiration. Maybe you’re finding it difficult to connect to Enjolras in Les Misérables. Researching student revolutionaries and learning more about who they were might be the jumping-off point you need.
Of course, if your character is based on a real person, you need to research their life to ensure your character reflects reality.
CREATING YOUR CHARACTER
All the research in the world won’t do you any good as an actor if you cannot translate it into action. You must get your head out of the books and into a creative space. There is no right way to accomplish this, but you want to find something that bridges the worlds of research and character development. Below are suggestions.
- Journaling: Use mundane, everyday events to dive into your character by writing a journal as your character. Let the research you gathered inform your character’s thoughts, decisions, and experiences. Don’t leap first to the exciting events of the play; instead, explore the everyday life of your character that audiences don’t see onstage.
- Character collage: Use images and words to create a collage that represents your character. It could include their dreams, a visual representation of their inner or outer world, or both.
- Character box: Imagine your character has a box under their bed. What items would they keep in it? Would it be a photo of someone they love? A meaningful card from a family member? A trophy from a competition? Fill the box with items important to your character that help you discover more about them.
- Character playlist: Create a playlist of songs your character would listen to. Include songs that speak to them or highlight their inner thoughts, dreams, or struggles.
When you create a strong character, it can be difficult to detach from them. You should never put yourself in a situation where you are unable to delineate between yourself and your character. Not only is it emotionally draining, but it also is mentally dangerous.
It’s important to develop rituals to help you get in and out of character. You might play a song on the way to rehearsal that helps you get into character and play one of your favorite upbeat songs on the way out. You could create character statues you perform immediately before rehearsal (or before going onstage) to get into your character, then personal statues you perform after rehearsal to get back to yourself. Finally, you might keep a “grounding” object ― such as a stone, feather, or button ― in one pocket that you touch when you need to get into character and another in the other pocket you touch when you need to come back to yourself.
Little about acting is easy. It is never just saying the right lines, hitting the right notes, or remembering the choreography. Each time you step onstage, you are being courageous in telling a story that can change people’s lives. It may make them laugh, make them cry, or encourage them to call someone. Our charge as actors is to create experiences that allow audiences to see themselves ― the good and the bad ― reflected through our performances.
Do not simply perform skillfully. Instead, be a storyteller who changes lives through the stories you tell … and the rich characters you create.
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]]>LIKE MOST FRESHMEN, I struggled to assimilate smoothly into the rough and tumble environment that is high school, in terms of both academics and social life. I was bullied. I was a bully. I found it all too easy to slip into cruelty, a mistake many teenage girls make. Thankfully, about halfway through my freshman year, my older sister decided it was time I saw the movie Mean Girls, now one of my top 10 favorite films. You can imagine my nerdy delight when, in 2017, I heard it was being adapted for Broadway. In November 2019, I caught a performance of the Mean Girls national tour at the Aronoff Center in Cincinnati, Ohio.
Mean Girls was composed by Jeff Richmond, with lyrics by Nell Benjamin, and book by Tina Fey, who also wrote the screenplay for the movie. The story follows 16-year-old Cady Heron. After a lifetime of homeschooling, Cady becomes a new student at North Shore High, a school ruled by a group of teenage girls commonly referred to as The Plastics. Cady is taken under the wing of school pariahs Janis Sarkisian and Damian Hubbard, who convince her to go undercover and join The Plastics to destroy them from the inside and end their reign of terror.
The audience sees almost everything from Cady’s perspective. We follow her as she learns to navigate the jungle-like halls of North Shore High, as she falls for classmate Aaron Samuels, and as she befriends The Plastics. It is essential that, despite Cady’s faults — which become increasingly evident as the story progresses — we still like and root for her. Danielle Wade, who portrayed Cady, made the character adorably charming and warm. In Act 1, Wade performed the song “Stupid with Love,” which is about Cady’s instant crush on Aaron (Adante Carter) when they meet in math class. Wade balanced the amusing and heartfelt elements of the song and provided a key glimpse into Cady’s internal struggle.
The apparent antagonist of the show is Regina George. She’s the leader of The Plastics and, according to some, evil Barbie incarnate. She was portrayed by Mariah Rose Faith, who tuned in to the hauntingly intimidating aspects of the character, along with the unexpectedly sympathetic. Faith’s version of Regina was somehow a beauty queen, a vicious dictator, and a deeply lonely young woman, all at the same time. The most powerful moment of the show belonged to Faith, when, in Act 2, she performed the song “World Burn,” during which she decides to reveal the previously confidential contents of the infamous Burn Book to the rest of the school, inciting chaos. Faith displayed impressive vocal abilities, providing the raw, slightly terrifying power needed to perform this passionate song.
Janis Sarkisian and Damian Hubbard, played by Mary Kate Morrissey and Eric Huffman respectively, are undeniably an iconic duo. They serve as both narrators and pivotal characters. They teach Cady everything she needs to know about the North Shore High ecosystem. Although Morrissey and Huffman were hilarious together, especially in the opening song “A Cautionary Tale,” they were also noteworthy on their own. In Act 2, when the teenage girls are gathered and asked to apologize to one another, Janis sings “I’d Rather Be Me,” where she declares that she will never again talk about another girl behind her back. Morrissey was compelling while performing this song, with genuine spirit and fervor behind every word. Huffman’s two songs displayed his dynamic stage presence. In Act 1, he sang “Where Do You Belong?” as a tell-all guide to the high school lunchroom, and in Act 2, he sang “Stop,” a helpful warning against giving in to reckless technological whims. Huffman was awe-inspiring, laugh-out-loud funny, and surprisingly informative while performing both.
Where would Regina George be without her “evil band of loyal followers”? Gretchen Wieners (Megan Masako Haley) and Karen Smith (Jonalyn Saxer) are the other two, allegedly less important, members of The Plastics. Both Haley and Saxer displayed high energy and impeccable comedic timing in “Meet the Plastics” and elsewhere. Haley’s performance as Gretchen was acutely fascinating; she embraced the role as the insecure-secure “best frenemy” of Regina with ease and gave the character new depth. Haley felt profoundly sincere and soberingly empathetic when she sang “What’s Wrong with Me?” featuring Gretchen’s lament over her lack of self-confidence and fear of Regina/Cady.
The most interesting technical aspects of the show by far were the multitude of projected backgrounds that created rapid transitions and helped set the tone of certain moments. For example, during the song “Revenge Party,” in which Janis, Damian, and Cady sing about their plan to destroy Regina, the background projection featured falling balloons interspersed with several severed heads of Regina herself. In addition to being quite funny, these visuals amplified the surreal mood of the situation. The projections were also used to great effect in the song “Apex Predator,” when Regina leads The Plastics through the shopping mall while the entire background turns a bright, dazzling pink, signifying their enormous influence and fabulous lifestyle. The only time the jokes projected on the background felt forced occurred before the show. The audience is greeted by projections of pages from the Burn Book with scribbled notes such as “0 likes, 0 followers” and “Basic AF.” While this was an attempt at further “modernizing” an already modern musical, as a teenager myself, I can tell when adult writers try a little too hard to relate to the “youth.”
Mean Girls is wonderfully creative and brilliantly funny but also has a lot of heart. Its universal message about treating others with kindness extends far beyond high school. Like the film version, the musical does not shy away from outlandish gags and bizarre visuals (for example, dressing someone up as “sexy corn” for Halloween or employing animal noises). By embracing these odd choices, the show displays the sometimes baffling, sometimes grotesque, and always engaging life of the modern-day teenager. Mean Girls has proven itself an enduring film, and now I can say with confidence that the adaptation will remain a musical theatre staple as well.
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]]>A SINGLE ELECTRIC guitar strums from the onstage orchestra, signaling the start of the overture. The ensemble weaves through the house, giving the audience a rush of biblical proportions. Through composer Andrew Lloyd Webber’s timeless rock score, Jesus Christ Superstar shows the struggle and strife Jesus faced in his last days on earth.
When Lloyd Webber and lyricist Tim Rice initially presented their idea for Jesus Christ Superstar, they faced rejection by London producers, who considered the idea profane, blasphemous, or simply unmarketable. So, Lloyd Webber and Rice developed their rock opera score and fresh story angle through the alternative medium of a concept album. Fortunately, the music was a hit, selling more than 3 million copies, priming audiences for a stage adaptation, and prompting a Broadway opening within a year of the album’s release.
The North American tour celebrates the 50th anniversary of this original concept album, which dramatizes the final days of Christianity’s central figure, the deterioration of his popular support, and his death. Struggling with double-crossing allies, ignorant political officials, and a world blinded by corruption and greed, Jesus finds himself paying the ultimate price for living his truth.
James Delisco Beeks gives an astounding performance as Judas, the disloyal disciple whose perspective leads the Superstar telling of Jesus’ story. After betraying Jesus’ trust and selling him out to a corrupt official, Caiaphas, Judas commits suicide. The complex layers of Judas’ character, as well as his very high vocal range, would give any ordinary actor serious trouble. Fortunately, Beeks defies expectations and puts his powerful tenor to use in numbers such as “Judas’ Death” and “Superstar.”
Along with Beeks, Aaron LaVigne leads the cast as the ever-famous son of God. LaVigne’s complex and confident portrayal of Jesus inspires the audience to root for the tragic hero. With guitar in hand, he offers angelic renditions of many classic Lloyd Webber hits, including his show-stopping “Gethsemane.”
Supporting all of Jesus’ endeavors is the dearly devoted Mary Magdalene (played by Jenna Rubaii). Director Timothy Sheader introduces a fresh interpretation to Magdalene’s character by keeping her present in many of the significant disciple numbers. This allows Rubaii to emphasize Mary’s unconditional support to Jesus’ cause. Rubaii’s empathetic portrayal of Magdalene shows that kindness costs nothing, a useful lesson for all.
Another standout supporting performance is given by Paul Louis Lessard as King Herod. Though Herod only appears in one musical number, Lessard makes sure no one will forget his character. Decked in a glittery gold tailcoat (designed by set/costume designer Tom Scutt), Lessard’s bombastically obnoxious performance of “King Herod’s Song” permanently ingrains itself into the audiences’ minds.
Scutt’s scenic design uses symbolism to its highest advantage. Through the repeated imagery of crosses meticulously scattered onstage, the world around Jesus warns him of his future crucifixion. The multitiered, run-down stage adds dimension and blends the actors with the onstage band, emphasizing the inextricable importance of Lloyd Webber’s score to the production. There is a cross-shaped platform in the center (an example of Scutt’s crucifix imagery) and a tree representing the garden of Gethsemane. The lighting, designed by Lee Curran, and the sound, designed by Keith Caggiano and Nick Lidster, add to the production’s concert-like aura. By using effects such as jarringly prominent spotlights and echoey microphones held by onstage actors, these designers leverage the production’s rock music roots and connect with the audience by transporting them to the familiar world of a concert.
Though the plot follows a story familiar to many Christians, the show’s themes are more broadly universal. Jesus Christ Superstar warns the world of what can happen if we lead with ignorance and injustice. The anniversary tour of the iconic rock opera masterfully reflects today through a lens still as relevant as it was 50 years ago.
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]]>FOR A LONG TIME, I’ve held onto this quote: “Critics are just artists who never made it.” It took me until two months ago — following my first experience with theatre from a journalist’s perspective — to stop believing it to be true.
Theatre journalism is something I never considered dabbling in until last August, when I enrolled in a film appreciation class at my Texas high school. It was the first time the class was offered, and it was led by one of University High School’s theatre directors, Katy Davis (who is amazing, by the way). I knew the minute she mentioned the idea for the class that I wanted to be part of it, especially because I intended to major in film and digital media in college.
Tyler Mitchell, far right, with fellow cast members at the district one-act play competition. Photo courtesy of Tyler Mitchell.
After learning the course would have a major focus in analytical writing, I thought it would prepare me in all the areas I needed to be successful as a screenwriter or director. What I wasn’t expecting was how the class and subsequent experiences would change the way I view theatre as an actor.
Though I had never participated in theatre journalism before, I have always been a writer. I began writing short fiction stories in fifth grade, and I drafted a full-length novel by the time I was 14. My interest in theatre came later. As a member of my middle school’s prose and poetry team, I performed an excerpt from the novel Lord of the Flies for a competition. As a result of that performance, I was asked to audition for my high school’s theatre company as an incoming freshman.
I hadn’t been interested in acting, but I remember thinking that even if my audition went miserably at least I would have tried. (I assumed it would go miserably. I went home and Googled what a monologue was. Then the panic began.) My mental health was at a terrible low, the worst it had ever been and has ever been to date. Yet, I wanted to believe that this opportunity had the potential to change my life. To my surprise, it did.
Acting in this company gave me a release, an escape, and a home. Being in theatre completely changed the direction of my life, so much so that I didn’t stop at acting. The summer after my freshman year, I worked on a production of The Wizard of Oz building sets and being part of the running crew for my community theatre. I returned the following summer to work fly rails for Matilda. Then, during the second semester of my sophomore year, I student directed in one of the higher-level acting classes at my school. In just three years of theatre, I’ve experimented across the board.
Still, when I began writing reviews for my film appreciation class, I struggled to provide analytical comments about the different acting and technical aspects of the films we watched, despite having worked in comparable theatre areas. I had acted, but not on screen. I knew the basics of cinematography, but I had never worked on a film set. So, I was surprised when my director suggested I apply to the Thespian Criticworks competition at the Texas Thespians State Festival in November 2019. It took no convincing on her part; I submitted my three reviews and left it to time to tell.
For my Criticworks entries, I was in the strange position of reviewing my school’s productions — which, in some cases, meant reviewing my own work but from the perspective of an audience member. Still, I found theatre easier to comment on than film because I felt I knew it inside and out. I wrote about the stories of the plays, how our interpretations of those stories differed from previous productions of them, and how our delivery was received by audiences.
I found it even easier to review shows I was not involved in because I could take off my blinders and not worry about possible biases that came from being involved in the process and performance. At the Texas festival, I got to watch, review, and interview the lead of Rare Birds, a one-act play by Adam Szymkowicz performed by Mesquite High School. It was this experience that made theatre journalism click for the first time with the actor in me. I had the opportunity to discuss — with Julian Wrights, an actor my age — the material, his research, and his approach to his part. In our interview, he talked about how, as an extrovert, he had to be intentional about studying his character. Because he had no experience connecting him to the character he was playing, he took it upon himself to discuss with his introverted friends the ways their personality affects how they interact with different people in their lives.
This approach resonated with me — not just as a theatre journalist, but as an actor. At the time of the interview, my director was casting our one-act play, where the main character loses his mother to cancer. The script was hard to wrap my head around, as I have never lost anyone that close to me to sickness. When I earned the role, I knew it was important to find something to connect those feelings to, whether something personal or the story of a friend who could offer insight on the turmoil a child faces when witnessing life lost. I used the example set by the actor I’d interviewed and applied it to my role.
Acting can be a very personal art form, and theatre journalism is just as personal to me now. That might sound improbable to many students reading this, especially if your only experience with something like theatre journalism comes from essays your high school English teacher made you write the day after watching a movie or show — the ones that made you hate English class. But, ironically, I found that in combining these two hobbies of writing and theatre that I once viewed as separate, both have become more meaningful. The kind of analysis I use when writing about theatre has become part of my acting process when I do theatre.
To be a well-rounded theatre journalist, you must be well-versed in all areas of theatre — from acting to designing to directing, even storytelling generally. So, to say a critic is an artist who never made it is not true. A critic is an artist — perhaps the most seasoned of them all — who has made it, just on their terms.
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]]>WHAT MAKES A MUSICAL great? Is it based on how many awards the show wins? The technical prowess of the designers? The accomplished performances of the actors? Well, if you’ve bought tickets for the national tour of The Band’s Visit — which I saw at Norfolk, Virginia’s Chrysler Hall in October — it doesn’t matter. The show delivers all these qualities and more. The writing, by David Yazbek and Itamar Moses, tells a heartfelt and unexpectedly rapid tale of one night in the fictional Israeli town named Bet Hatikva.
Christopher Martell
When the members of the Egyptian Alexandria Ceremonial Police Orchestra, better known as “The Band” of the show’s title, arrive in Tel Aviv, Israel, they expect to be greeted by friendly faces and an escort to the Arab Cultural Center. However, upon realizing no such courtesies will be extended, the older leader of the band, Tewfiq (played in the touring production by Sasson Gabay), orders Haled (Joe Joseph), a younger member, to order tickets to Petah Tikvah, where they are scheduled to perform. Due to his accent, Haled mistakenly orders tickets to Bet Hatikva.
Upon arriving in the wrong town, they encounter Dina (Bligh Voth), an attractive Jewish woman who runs a local café. She tells the band that the next bus out of Bet Hatikva does not arrive until morning. The rest of the story takes off from there. In this 90-minute musical, the audience is moved through the ensuing drama to witness the relationships that form during the band’s single night’s stay. The show’s compressed timeline is somewhat reminiscent of Come From Away in that the cast performs such a moving and profoundly human tale that although the storyline only spans 12 hours, it seems to cover a decade’s worth of tension and character development.
After the sun sets, the audience gets whisked away into the lives and homes of the townspeople. The ensuing night’s musical numbers range from comedic to incredibly emotional and soul rending. Usually a musical has a few standout songs; in The Band’s Visit, every song is as intense as the last as the audience is bombarded with mystical vocals, accompanied by the onstage band. While much of the music has a traditional Middle Eastern feel, jazz is also employed, adding aesthetic and cultural complexity to the characters.
There were many standout vocal performances by Joe Joseph (“Haled’s Song About Love”) and David Studwell (“The Beat of Your Heart”). Studwell’s portrayal of Avrum was easily among the most moving and interesting aspects of the show, both in how perfectly he played his character and in his support for his scene partners. Studwell knows when and how to perform in a way that feeds and spotlights other cast members. By far the most powerful moment in the show comes during the blistering ensemble chorus in “Answer Me,” which represents a breaking point in the characters’ tensions and leaves the audience awestruck. This chilling ballad seems to crescendo for its duration while perfectly underscoring a theme of the show: what it means to be truly alone.
The vocal performances in The Band’s Visit are impeccable and by far the highlight of the show. However, this is not to undercut other elements that went into creating this 10-time Tony Award winner. The set is incredibly intimate, and the actors make use of every inch of available space to believably create multiple areas and scenes at once. The set centers around a revolving 25-foot tall building designed to host multiple locations through moving walls and doors. This helps maintain the focused intimacy of the production while allowing versatility for quick scene changes. It might even make the audience wonder why the only Tony for which the show was nominated that it didn’t win was for set design. Overall, the visual design elements (set, lighting, costumes, props) all meshed perfectly to provide the right visual context without distracting from the nuanced performances.
Something rather lacking, however, was the choreography and blocking. Theatregoers looking for fast-paced music combined with intricate, mind-boggling dancing should not consider this show. While the lack of dancing in general fits the somber, lonely tone of The Band’s Visit — and the incredible vocal talent certainly offsets the absence of big dance numbers — the audience was often looking at a relatively stagnant stage.
The Band’s Visit accomplishes something profound. By focusing on the loneliness in the hearts of strangers, the story explores the uniquely human capacity to find common ground by sharing common feelings, especially through art. The show bridges gaps among characters with little to nothing in common except their loneliness and their love of music. The Band’s Visit is an emotional story born out of sincere human qualities found deep within the hearts of everyone. The show is so relatable that anyone with a passion for life will enjoy themselves and will leave the theatre singing along.
This story was written as part of the Thespian Criticworks program. Learn more about Thespian Criticworks online.
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