The inaugural Thespy Short Film Festival brought together Thespians from around the country to showcase and celebrate students’ creative work in film. Dramatics chatted with some of the creators and collected all the films to celebrate these talented Thespians once again.

At ITF, a packed house enjoyed 18 films created by 30 Thespians from 10 different states exploring themes ranging from preparing for college to growing older to first loves. “It was an incredible experience to be part of the first Thespy Short Film Festival,” said Patrick Cashion, Washed Up. “It was both inspiring and humbling to have my own film showcased among my fellow Thespians, and the supportive and dynamic atmosphere made it a truly memorable night.”

From Stage to Film – Unique Challenges for Thespians

Featuring 21 categories, the Thespy awards celebrate student achievement in a range of practices, many of which focus on and around the stage. That’s why the short film category provides a unique departure that challenges Thespians not only on their medium, but also their creative process.

“It’s a different type of ‘suspense of disbelief’ that resonates with a larger audience. It also has so many moving parts that anyone and everyone can find a home in to fulfill their passions,” said Ella Wissing, When the Grass Was Greener. “The challenges of continuity and needing to understand your story fully from writing to filming to editing; the artistic and technical aspects need to be all in sync.”

In some cases, that also meant finding the talent for the films. “Oftentimes you have to come up with a plot, find actors, film it all yourself, and even act in your own film,” said Jack McCarthy, DUNK.

Of course, film also offers some advantages. In addition to having more control of what the viewer experiences and the flexibility of multiple takes, it also sharpened many Thespians’ directorial skills.

“While on the stage, a director’s main objective is to essentially train an actor over multiple rehearsals to independently perform a scene in the director’s vision without any input from the director. In film, the director and actor only need to get the take right once. This usually means that the director and actor have a sense of co-dependency that never leaves throughout production,” said Drew Gordon, The Understudy. “I found this process to be both challenging and rewarding, as I had to carefully choose my words and pieces of direction while my actors carefully adjusted subtle nuances and emotional delivery of their acting from take to take. Despite this sometimes-painstaking ordeal, I feel as though my actors and I grew closer and more understanding of each other not just over the course of production of the film, but also in later shows and rehearsals.”

Succeeding with Your Short Film

Thinking of applying for adjudication next year? Our Thespians also had plenty of advice on how to find success throughout their journey and what worked best for them.

“For future filmmakers, I have two pieces of advice: First, never underestimate the power of an in-depth storyboard. Draw and write down everything you want in your film; down to the second,” says Ella Duffey, Marionette Nez Rogue. “Second, although it can be tempting to capture moments with one long continuous shot, I found that having many shorter shots can keep the audience engaged and allow you to capture moments to their fullest.”

“Use all the resources available to you, and don’t be afraid to ask for help,” says Mikayla Salazar, 1GN1T10N. “The teachers and students around you can be surprisingly helpful, even if you’re just looking for extra actors.”

“Every opportunity you don’t take is one success you could miss out on. Whether you want to be a filmmaker, an actor/actress, behind the scenes, or on the big stage, do it because that’s what feels right. Surely always take a drink of uncharted waters and find what you feel connects as your true legitimate passion first,” said Dawson V Jackson, Dean. “But remember we’re still human. Judgement is severe in this generation, but the most impactful judge is yourself. Do what you do because YOU love it.”

2024 Thespy Short Film Festival

Now without further ado, here is the 2024 collection of superior-rated Thespy Short Films.

The post An Inside Look at the ITF Short Film Festival appeared first on Dramatics Magazine Online.

Dreaming of continuing your theatre education in college? With so many schools and programs to learn about, and the need for countless auditions, it can be challenging to know where to start. Luckily, you can get all the info you need plus opportunities to audition for many of these programs at the International Thespian Festival (ITF).

The ITF college audition program is designed to connect rising seniors with more than 50 colleges and universities. But before you head to Indiana University this summer, here’s what you’ll need to participate and some advice from the university professionals you’ll be meeting.

What You’ll Need to Participate

To participate in the college audition process, you must meet a few criteria, including:

• You’re an inducted Thespian graduating in 2025.
• Your troupe director, teacher, or parent/guardian has registered you for ITF and selected the college audition add-on.
• You’re preparing to submit your audition materials by the May 15, 2024 deadline. Note: you’ll receive a separate email after registering with the link to a secure platform to submit your materials.

When submitting your audition materials, you’ll have the chance to choose your preferred category, including performance, technical theatre, or theatre education – be sure to visit our site for more details on the specifics you’ll need to submit based on your selected category.

Your College Audition Materials

There aren’t many opportunities to get in front of so many colleges at once, so making the most of it starts with preparation. Regardless of the category you’re applying for, you’ll need to submit materials ahead of time. These materials are available to all participating colleges for review and are often the criteria used to schedule their callbacks.

Depending on the category you’re applying for, you’ll need to submit:

• Performance Auditions – An audition video with two monologues for students pursuing acting, or a monologue and song for students pursuing musical theatre, a current headshot, and resume. (Performance Audition Tips)
• Technical Auditions – Three samples of work, an audition video of you speaking about your work, a current headshot, and resume. (Technical Audition Tips)
• Theatre Education Auditions – A current headshot and resume, written responses, and either a performance or technical audition tape based on your strongest skills. (Theatre Education Audition Tips)

7 College Audition Tips from the Pros

Paul Steger, Dean of the Leigh Gerdine College of Fine Arts at Webster University, and Sharla Cowden, Department Chair at University of Evansville, have been attending ITF and college auditions for over 50 years combined.

In that time, they’ve seen the evolution of the audition process and shared seven tips to help seniors make the most of their experience.

1. Ask for Help

Your audition tape is often your best opportunity to make a first impression, so make sure it’s a good one. While you may be tempted to do things on your own (and you totally can), don’t hesitate to ask for help.

“Encouraging students to ask for help from their high school teacher, counselor, or upper classmen could be really helpful,” says Cowden. Asking someone to operate the camera also “[gives] them someone else in the room to play to.”

Whether they’re checking the framing, spotting distractions in the background, checking audio to make sure you sound your best, or “watching it with them afterwards and redoing it (if needed),” another set of eyes is never a bad thing. Using them as an off-screen scene partner can help inform acting choices and line deliveries, even though the other person should remain unseen and unheard.

2. Be Authentic

The materials you choose for your college audition are always going to be important, but so is your delivery. While you may be tempted to be as elaborate or animated as possible, Steger says authenticity is more important.

“[We] don’t have to see extreme characterizations in your body, speech, dialects, or any of those things. Just be as natural and close to you in real life as you can imagine,” says Steger. “You don’t have to costume it up or use props or anything like that. If you want to sit in a chair, go for it.”

And the same goes for Cowden. “I always encourage the kids to start with a piece that is the most like themselves,” she says. “We’re looking for honest and truthful work, so let me see a little bit of who you are through each character.”

3. Understand Your Material

Showing your range is important, and it’s why most Thespians opt for performing contrasting content like comedy and drama. However, having a deeper understanding of your material can make a bigger impression on colleges. One strategy Steger suggests is choosing a monologue from a play script rather than a monologue book.

The folks watching your auditions likely have read and have a deep understanding of the material you’ll perform – and you want to show you do too. Often, that contextual knowledge can shine through in a performance and allows for less time spent establishing the character’s dynamics and conflicts, instead showcasing the material and performance skills.

4. Be Coachable

Once schools have reviewed your material, they may want to meet you in person. This can happen either at their booth in the exhibit hall or in dedicated callback rooms, with many participating schools bringing multiple staff members. For example, the Webster University team often includes design tech or stage management faculty, design students, and additional senior staff.

Why? To get an opportunity to work with students in their discipline.

“We want to give everybody we think has a talent and that might fit with the program an opportunity to explore it,” says Steger. “It might be to give a direction, like upgrading what their relationship is with the person they’re singing to or doing the monologue with, or we might give a vocal adjustment,” he says. “I always say, just come prepared with the monologues you did as polished as possible… that would be a place where we would start the conversation.”

For Steger and many colleges at ITF, this is also a chance to see how you work with others and your coachability.

5. Remember to Schedule Time for Callbacks

Participating colleges have limited timeslots to meet with students. And if everyone is aiming for the same spot, you may not have an opportunity to visit the schools you’re most interested in.

“Workshops are an important part of [ITF], but you also need time to really do your callbacks,” Cowden says. “All our students have to audition and interview, and this is a place where they can do both.”

Colleges will contact you directly if they want to schedule a callback, so be sure the email you use is one you have access to and check often. And if there’s a school at the top of your list and you get a callback, don’t wait to schedule your meeting. It may be tougher to find a convenient timeslot towards the end of the week.

6. Have an Idea of Your Interests

While you don’t have to be settled on your degree (i.e. BA vs BFA) or where you’re planning on going, having some expectations or goals for your education can help. For example, knowing how many shows you’d hope the program does each season or what your responsibilities behind the scenes might be can help narrow your choices for schools you want additional information from.

“Do the research to see all the different programs, because there’s usually general information about what kind of plays we’re doing or have done in the past, plus all the audition requirements, degrees that are offered, the faculty, and kinds of classes you might take,” says Steger.

He also suggests thinking about your college experience. Whether that means schools with huge sports programs and stadiums or smaller private campuses where there may be 5,000 students total, knowing what you want out of your time at a school is equally as important as what the school is looking for in you.

“It’s [has to be] the right fit for the student and the right fit for the program,” he says. “That’s the difference between looking at the auditions versus doing a callback; who’s going to show up for four years beside their talent.”

7. Open Your Mindset

Finally, relax and have fun. Like most things in your theatre career, college auditions will be a learning experience. While it can be intimidating to perform in front of new people or interview with schools you’d love to attend, it’s important to remember the schools are just as excited to meet you too.

“They want you to be great and I think a lot of kids forget that when they walk in a room. They want you to solve the problem for them and they’re rooting for you, so take away the judgment part,” says Cowden. “I always tell kids, don’t close doors. Enough people are going to close doors on you. Use ITF to walk through doors that are opening to you.”

Explore Your Theatre Future

There’s plenty to do at ITF, but if continuing your theatre career into college is on the list, applying for college auditions can be an amazing opportunity. Not only is it an opportunity to get in front of wonderful theatre programs from around the country, but it’s also a chance to explore what the next four years can potentially look like.

But before you arrive in Indiana this summer, be sure to get your application completed, remember the materials you need to submit, and focus on our helpful tips to make the most of your experience.

The post College Audition Tips for ITF appeared first on Dramatics Magazine Online.

Becoming a Thespian can be a rewarding and enjoyable experience. Not only can you find community amongst fellow students, but often it kicks off a long-term artistic journey. While every student’s experience will be different, there are always Thespian alum to look to for guidance and inspiration.

Muhammad Khaerisman and Tyren Duncan are two such Thespians.

Members of Troupe 7961, their Thespian journey earned them Thespy accolades, long-lasting memories at the International Thespian Festival, college educations from University of Houston and Texas A&M University-Corpus Christi respectively, and a career as working artists, where they still attend Texas Thespians – now as teaching artists.

As Kendra Willeby, their former teacher and troupe director, explains, their journey represents that “pie in the sky dream outcome” of becoming a Thespian.

Today, they run Faces Network, an artistic collective and platform for artists, with performance arts pieces hosted in Atlanta and a new film, Prodigal, premiering in 2024. EdTA caught up with them to learn more about their Thespian experience and how these lessons have helped shape their careers.

The Early Days as a High School Thespian

For Khaerisman, who like many children, aspired to be an astronaut, the path to theatre unexpectedly started with early wins. “In the summer of 11th grade, Ms. Willeby signed me up for college auditions, and out of something like 74 schools, 72 called me back,” he says. “It blew my mind. I don’t know if it’s my upbringing or because I wasn’t exposed to anyone in this space, but it didn’t occur to me that I could pursue acting as a life course.”

For Duncan, football was the main priority, playing from elementary all the way until his junior year of high school. However, his passion for football declined, and the need for a new creative outlet led back to theatre. In his freshman year of high school, he had performed in South Pacific, had a “good time,” and figured it would be a great place to return to. But his second run in theatre didn’t start as expected.

“Oh God, [the audition] was a school bus breakdown on the side of road: flames, smoke, everything,” he said. “When you’re in high school, you feel like that’s it. You feel like ‘Ah, if I didn’t do this one thing then I’m completely done in life, and I’ll never amount to anything, I’ll be a failure.’ While the audition wasn’t ideal, he still got his opportunity to return to theatre. “Ms. Willeby took a shot on me and saw potential in my ability… I thought it was really great that someone saw a lot in me.”

Finding Theatre on a Larger Scale

Growing as a Thespian often means challenging yourself and expanding your skills. One of the easiest ways to start is by attending state festivals. “I decided to go to Texas Thespians [state festival] because I really wanted to be better. A better artist; a better actor for people around me and for myself,” Duncan says. “I remember a moment specifically where we made it to the hotel, and I was with my friends, and looking out the window of the hotel. It was just so beautiful, seeing Dallas and all the lights at night, and I was like, “Wow bro, theatre took me here, and I wonder where else it could take me.”

Ultimately, it took Duncan and Khaerisman to the largest stage of all, the International Thespian Festival (ITF), where they would make lasting memories and learn some tough lessons too. Khaerisman says those annual trips to ITF are filled with memories of adventuring with friends, random jam sessions with troupes from around the country, and a chance to connect deeply with the craft.

“One of the featured artists was the composer of Big Fish. I’d never been exposed to this musical before, and he sang a song called ‘Fight the Dragons.’ It was just him on the piano – a very simple performance – but I remember crying and [feeling] so much relief and catharsis,” he says. “If this medium of art could give me that, as a human being, as a student, as a person, I really wanted to commit to be able to provide that for other people.”

Competition 101

Of course, for many Thespians, ITF isn’t just about bonding with fellow theatre students – it’s a stage for competition and an opportunity to see talent from around the county – and our reactions to that dynamic can often be varied.

For some, it’s a comforting experience. “It’s reassuring that you’re not the only person that’s really good at what you do,” says Duncan. However, that experience also opens doubts that require intentionality and mindset shifts. “There’s a lot of kids who are also very talented. And, of course, that impostor syndrome sets in because you’re like, ‘Oh, maybe I’m not good enough,’” he says. “I just had to check myself and realize it’s not about that; it’s about being a part of a larger community and knowing that these people are bringing their best, I’m bringing my best, and we should all want to make each other better.”

For others, like Khaerisman, ITF is the ultimate proving ground on the largest stage possible. Coming from a competitive background, his mindset was laser-focused, seeing fellow Thespians as an obstacle to overcome. However, after an early exit from competition, it proved to be a learning experience too.

“I remember my first time going to [ITF] I was like, ‘We got main stage. We did it all: we got the right writing, we rehearsed it, my partner’s gas, I’m gas, everything’s going to be incredible.’ There was no thought in my mind that there was a possibility we wouldn’t even break out of the room [advance to main stage],” Khaerisman says. “Being taken out of the competition early on just freed my time to do workshops, watch shows, and experience [ITF] without having to be in that challenger mindset.”

Opportunities to be surrounded by thousands of theatre fans and practitioners are few and far between, which is why one of the things Duncan and Khaerisman agree on is that the biggest reward of attending ITF is finding community. Whether that means stepping out of your comfort zone to experience new practices in a workshop, chatting with Thespians from other states, or simply enjoying a show, there’s more to ITF than competition.

Finding Community Post-Grad

Part of the challenge for Thespians continuing their journey after graduation is finding opportunities. For starters, community is often a byproduct of being in high school. Having graduated from college at the height of the pandemic, where interaction was at an all-time low, figuring out new ways to meet artists was an experience both men had to navigate.

According to Duncan, one of the places to start is with social media. “I love acting, but I also love underground hip-hop, house music, people who create fine art as far as sculptures, paintings, and things like that,” he says. “I always go on Instagram and figure out, ‘OK, what gallery is showing XYZ, how can I pull up to show support and actually get to know these artists?’”

This intentionality has helped them land opportunities like costume designing for smaller theatrical companies and expanding their network of agency contacts, making life as working artists a real possibility.

The other challenge post-graduation is understanding who you are as an artist. “For me it was unlearning that my identity – who Muhammad is and what Muhammad be doin’ – are two separate things,” Khaerisman says. “I thought my community of artists was going to be just actors, because I’m an actor and those are the people who would understand my journey. But it’s the complete opposite. Don’t just seek out actors or theatre practitioners. Go to an open mic, go to a stand-up comedy night, go to a movement workshop. Be in community with creators, cause anybody doing [art] at a DIY independent level… there’s going to be alignment.”

“Making It” as a Working Artist

Today, they’re both working artists and have founded a business to continue their passion in the arts. And while their journey is unique to them, there are some nuggets of advice they offer Thespians looking to pursue a similar journey.

“Everybody’s path is different. I might be wearing something that may not fit for somebody else, but I can assure you, the more you actually listen to your voice as an actor and as a person, the better off you’ll be,” says Duncan. “That’s the biggest advice I can give to any young artists out there. Don’t let them change you, let the world be your mirror.”

“It’s kind of silly, but all of us jumped into art because there was something we felt emotionally passionate about. But if you’re going down a path where you’re trying to build a life as an artist – a career and something that sustains you – approach it logically,” says Khaerisman. “Figure out the tools, skills, and knowledge you already have. Then create that plan for yourself. It’s only impossible if you don’t write it down.”

Stay connected with Muhammad and Tyren on Instagram @_xxfacesxx_ or their YouTube Channel.

The post From Thespy Stage to Working Artists appeared first on Dramatics Magazine Online.

The International Thespian Festival (ITF) main stage hosts the most outstanding productions in school theatre. In 2023, Mean Girls: High School Version will be performed by Thespian Troupe 6896 from J. J. Pearce High School (Texas).

Cady Heron may have grown up on an African savannah, but nothing prepared her for the wild and vicious ways of her strange new home: suburban Illinois. How will this naïve newbie rise to the top of the popularity pecking order? By taking on The Plastics, a trio of lionized frenemies led by the charming, but ruthless Regina George. When Cady and her friends devise a “revenge party” to end Regina’s reign, she learns the hard way that you can’t cross a queen bee without getting stung. Adapted from Tina Fey’s hit 2004 film, Mean Girls took Broadway by storm and will leave you seeing stars.

Here’s a peek behind the curtain with director Heather Biddle. (At the time of this posting, you can still register for ITF and see this production live and in-person!)

DRAMATICS: Why this show right now? What considerations were made in the selection process?

BIDDLE: The story in Mean Girls: High School Version is important to be told right now because we live in a society where people feel protected to say whatever they want online. We have forgotten that behind the screens are real people with real feelings. Mean Girls might not only be about social media its perils, but it plays into the larger message very clearly: that everyone is dealing with something. We never truly know what is going on with others.

DRAMATICS: Finish this sentence. You wouldn’t know it but…

BIDDLE: If you’re thinking of producing this show at your school, we highly recommend using Broadway Media for the projections. Their products make it so easy – you could do the entire show with only a cyc and some tables. Scene changes are seamless and Broadway Media makes it so easy for your audience to imagine that they are in the world of the show. Borrow rolling tables and desks from your school’s cafeteria and your set budget it minimal!

Additionally, costumes for this show are so simple, if you have any parents who are collectors, I can guarantee they have all the costumes you will need. Bonus points for chunky belts, Doc Martens, and tank tops over t-shirts.

DRAMATICS: Tell us about the unique creative process you had during the rehearsal period.

BIDDLE: We are without a theatre for the next 18 months, so we blocked the entire show in other areas of the school, like a locker room, a gym, a hallway, and other non-theatrical spaces. We rented the Allen Performing Arts Center for our performances, and because of these challenges, tech week was only the third time we had been on a real stage during our entire rehearsal process.

We would be remiss not to thank to our wonderful friends at Richardson High School (our district neighbor school) for letting us use their theatre a few times before our tech rehearsals began. The lesson we learned is this: You do not need to have a traditional stage if the story is good. The story and your company will make it all work! 

Patty Craft is content manager for Dramatics.org.

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Change Happens in Workshops

Among all the offerings at ITF, workshops are one of the biggest draws. There are workshops on everything from dance to technical theatre to writing, and even specialized areas like stage combat. Teaching artists and professionals lead the workshops: spending time with these experts is an experience full of opportunities to ask questions or try new skills.

Attending a variety of workshops is a huge step you can take for yourself – go to sessions on topics you love and also try several that focus on skills you don’t yet have. These workshops are hands-on opportunities to get feedback from the best of the best. They help us get ready for our careers after high school, so don’t be afraid to stretch yourself into new and exciting areas. And don’t be afraid of trying something new – there are thousands of other Thespians at ITF with all levels of experience. It’s a supportive environment perfect for trying something new.

Change Happens When We Network

At ITF 2022, I got the chance to be the stage manager for both the commissioned play, Spring Break by Joe Calarco, and the commissioned musical, ERNXST, or The Importance of Being by Bree Lowdermilk, Kait Kerrigan, and Justin Elizabeth Sayre. Both shows gave me experiences I will never forget.

The biggest takeaway from these two unforgettable experiences was the networking I did. By working on two separate creative teams at the very beginning of the creative process of new works of theatre, I got to watch the way professionals in the industry worked, gain real life experience, and make connections that I’ll use in my future theatrical career.

Another way to network at ITF is by connecting with all the exhibitors present. ITF brings in the best in the theatre industry, and the exhibit hall is a great place for students and troupe directors to learn about new products and meet with industry professionals who make a living in their respective fields. Chat them up, learn something new, and make a professional connection! 

Opportunities Are Everywhere

ITF offers so much more than just an opportunity to perform and receive a Thespy^® Award. Opportunities really are everywhere: attending workshops, meeting with representatives from college theatre programs from all across the country, watching chapter select one-acts and main stage shows, meeting other Thespians and making friends, and possibly even going to rehearsals.

Other opportunities you may not know about include being part of a commissioned work written exclusively for a debut at ITF or participating in student-written 24 Hour Plays. College auditions are another huge opportunity that rising seniors can take advantage of at festival (be sure to add this opportunity when you register for ITF). Connecting with representatives from schools and learning things about their programs in person is SO MUCH better than flipping through a booklet you received in the mail. Plus, by going through the college auditions at ITF, you get a jump on the process and expand your access. Dozens of college theatre programs are always looking for new talent at ITF.

My experience with the International Thespian Society and its parent company, the Educational Theatre Association, have been unique. I didn’t go to #ThesFest expecting it to jumpstart my career and make me fall even more in love with the arts. When I became a member of ITS, I felt like I had officially become an artist and creator. Going to ITF, I was excited to compete in the Thespy Awards on an international level. I didn’t know I would get to stage manage two shows, meet and work with writers and producers who make a living doing what they love, lead two casts of high school artists (who I still occasionally catch up with), participate in college auditions and callbacks, and get into one of the college programs I auditioned for! I wouldn’t be where I am in my technical theatre career without the opportunities ITF gave me.

Everything that EdTA and ITF offer to theatre students is incredible. By providing these opportunities to young performers and technical artists, ITF opens doors that can’t be opened anywhere else. Take the next step in your career by planning your trip to Bloomington, where you’ll grow your craft, network, and take every opportunity it provides!

Sydney Stephenson is a writer and stage manager in high school. Go behind the scenes of her latest projects on Instagram.

The post Change Happens appeared first on Dramatics Magazine Online.

As I say in the video, “You know what to do.” Get registered for the International Thespian Festival 2023 (#ThesFest) now and start making plans with your theatre friends. Along with workshops there are full-length main stage shows, college auditions, an exhibit hall full of cool theatre tools and products to check out. And most of all … thousands of theatre lovers all in one place! 

More reasons to come to ITF 2023

Here’s a bit more incentive to get registered for #ThesFest, your ITO will be there for the week. Connecting with them IRL gives you firsthand experience with student leaders making a positive difference for theatre.  Talk with them and be inspired to get more involved with the power of theatre in our schools. 

You don’t want to miss full-length main stage shows, chapter selects, and so many other live performances. Last year I saw shows including Beauty and the Beast and Fela. The Educational Theatre Association’s Pathway program brought Fela to the festival and it was A-MAZING! Pathway enhances the school theatre experience and makes an impact in communities facing racial disparity by creating opportunities for students to work with industry professionals of color while performing works that encourage dialogue around racial equity. 

“Fela” at the International Thespian Festival 2022. Photo courtesy David Slaughter Photography Network.

Register now for the International Thespian Festival 2023. 

Destinee Steele has an MFA in wig and makeup design. She is the CEO of The Beauty Menagerie, LLC. She is also a Founding Board Member of Black Hair and Makeup United. Destinee is a regular content contributor to Dramatics.org. To learn more visit her at destineesteele.com.

The post International Thespian Festival 2023 appeared first on Dramatics Magazine Online.

For Ava Pearson — who is a member of Troupe 6547 at Lincoln Southwest High School in Lincoln, Nebraska — her love for theatre was fostered right at home. Ava’s father, Steven Pearson, passed down his passion for theatre and has encouraged Ava to pursue her interest in it. He performed in high school in a musical. Then in college, he continued to nurture his talents and has since performed in 50+ community productions. His latest role includes Joseph Pulitzer in a local production of Newsies. Not surprisingly, theatre was always present in Ava’s childhood. Many of their family vacations have included theatrical performances.

Ava says, “I have learned a lot of singing skills from my dad, and we nerd out together over new shows that we see.  I was in a community theatre production of Elf Jr., but when I got to high school, I decided to get involved on the light crew for Kinky Boots.” (Read more about her participation in the show at the 2022 International Thespian Festival (ITF) below!)”

Theatre Family at ITF

Besides seeing shows and leading by example by doing community theatre, Steven has also nurtured his theatre family through his employer. He’s worked for the Lied Center for Performing Arts for several years as event services manager. He oversees hospitality and various accommodations for visiting artists, as well as the myriad front-of-house logistics. For 10 years, he also coordinated logistics for the annual ITF, which was held at the Lied Center.

“Feeling the positive energy of ITF attendees and seeing what a great experience they had, was a very rewarding experience,” he says.

Now, he sees being involved with ITF as a great opportunity for Ava. He adds, “When we found out that Lincoln Southwest High School was doing Kinky Boots and having it evaluated for inclusion at ITF, I encouraged Ava to participate because I knew she would have an amazing time.”

Paul Canaan in costume as one of the angels in Broadway production of “Kinky Boots.” Photo by Matthew Murphy

Each year, a handful of International Thespian Society Troupes are selected to perform a production from the preceding school year on the main stage. Troupe 6547, of which Ava is a member, performed Kinky Boots at ITF 2022. Ava was on light crew.

She says, “I got to do more things during the show for ITF than I did for the original production. The cast and crew are all wonderful people, and I always have a fun time rehearsing.”

The show is directed by Bob Henrichs. The beloved musical follows the true story of a young man who has inherited his father’s shoe factory. With the fateful introduction to a fabulous entertainer named Lola who’s in need of some stilettos, Charlie just might be able to save his father’s legacy and the family business.

Gen-Z Member of the Theatre Family Branches Out

In 2020, Ava and her family visited New York and attended a production of Beetlejuice the Musical on Broadway. It was just before the start of COVID-19, and she says she felt fortunate to have been able to see it when they did: “I already loved the music, but seeing the show live made me love it even more.”

Like theatres across the country, Beetlejuice the Musical shut down temporarily in response to health and safety measures. But when they returned to performances, the musical’s producers invited fans to be part of the exciting moment. They announced a contest for fans to submit original artwork about the show with the chance to be included in a mural at the Marquis Theatre. Ava submitted an original work that features the musical’s character Lydia Deetz.

“My ultimate career goal is to be an animator or an illustrator, so I entered the contest,” Ava explains. “One day at school, I got an email from Beetlejuice the Musical saying that my art had been selected to be in a mural outside the theatre. The mural was being installed that very day.”

Ava’s work is accompanied by about 500 other fan submissions. To celebrate her art being included, she traveled to New York with her family to see it in person.

Ava Pearson seeing her art as part of the Beetlejuice mural in NYC.

“I can’t put into words how exciting it was to see my art as part of this mural,” says Ava. “My heart was bursting out of my chest. It was a total fangirl moment. Seeing my art outside of a Broadway theatre where one of my favorite musicals is playing was indescribable. This is by far the largest audience that any of my art pieces has ever had, so I feel like this was a big stepping-stone for me as an artist.”

When you’re part of a theatre family like Ava and Steven are, there are so many creative opportunities to follow! You can learn more about becoming a thespian in the International Thespian Society here. 

Natalie Clare is a Cincinnati-based writer who composes original content for brands, organizations, and publications. She writes fiction and nonfiction, and she directs and produces works of film. Visit her at nataliecwrites.com.

 

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Victoria Deiorio describes sound design as either prescriptive or creative, depending on the director. “You’re either told what to do — ‘I want this kind of music, this exact piece of music, I want this here’ — or you’re allowed to do it on your own. It depends on who wants to drive the sound journey.” Toy, as she’s known by in less formal moments, is Chair of Design and Technology and the Head of Sound Design at Syracuse University.

(If the technical aspect of theatre is what draws you in, check out the International Thespian Festival (ITF). There will be dozens of workshops, including many with a focus on theatre tech, for you to attend!)

Victoria Deiorio. Photo by Jenn Udoni.

As something “hitting the audience on an emotional level,” Deiorio said that “sound is very directorially influenced.” When she recruits student assistants at DePaul, she seeks storytellers who appreciate the emotional impact of audio. “If [students] have done anything in sound that’s affected an audience and realized they did that, that’s a big part of what I look for. I can teach the [technical] skills.”

TIPS ON WORKING IN SOUND DESIGN

The sound designer must understand both the director’s overall creative vision and the minute details of each scene. Communication is key; talking with the director about the world of the play and understanding what should be there and what shouldn’t helps to create a moving sound backdrop. 

One way to think about the process of sound design  is to consider how a costume designer might gather swatches of fabric as they work. They compare cotton to silk; consider drape and flow as they choose the fabrics that are right for each character’s costume. The same is true with sound. “Swatching” together melodies, sounds, and tones lets the right audio come together. 

Beyond their theatrical craft, sound designers often dabble in other sound-related fields, thanks to the versatility of their skill set. They may work in education, a sound studio, score short films or videos, or even write marketing jingles. There is a world of sound storytelling to be had by those who hear that which is not seen.    

Martha Wade Steketee is a Michigan girl who loved movies and theater, studied literature at Harvard and social science and social welfare at Washington University in St. Louis and the University of Michigan, and spent 20 years as a court researcher and domestic policy analyst in university research offices and nonprofit research settings in several cities. She returned to theater in her 40s.

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Troupe 7268 at Hoboken High School in Hoboken, New Jersey, will present She Kills Monsters: Virtual Realms as one of the top six productions adjudicated this year. Danielle Miller, Troupe Director and play director, talked with us after they learned they’d be on the Main Stage.

DEALING WITH CHALLENGES IN SHE KILLS MONSTERS

One challenge was obtaining all the equipment the students needed. They’d be making this theatre magic happen in their homes. The school gave each student a laptop and a WiFi hotspot pack to have high-speed internet access. Then we got ring lights, microphones, webcams, and green screens. Companies ran out of stock and our items were on backorder. This delayed our filming schedule.

Trying to balance 13 ring lights in 13 different locations, and film at a consistent time of day with natural sunlight was a nightmare! Even with the WiFi packs, many scenes had glitches. We had to refilm multiple times.    

No theatre educators had training in any of this remote production process. But we created meaningful and impactful art educational experiences for our students. Being named a top six main stage production for ITF 2021 is just an incredible way to end this journey! 

WHAT WE LEARNED BY MOUNTING THE SHOW REMOTELY

Seriously, in these dark times, I think this show saved us all. We were being creative and had a place to be together, even if that place was all of us being remote. Working on the play was something to look forward to each afternoon. 

We all became quick on our feet and learned an inventive way to create theatre magic. In a normal situation where we produce the play at the school theatre, I provide the students with the set, with a costume, with a hair and makeup artist, with professionally hung and focused lighting. Performing and filming remotely, the students had to put up their own green screen, set up their own light ring, balance the lighting in their own room, and put on their own wigs and makeup.

The students had to do a lot of their own troubleshooting, too. Even with all the challenges, the students never complained! I think the experience made these student actors more self-reliant. 

Also, just in terms of acting, the students were acting to nobody yet had to dig deep and still make personal connections to their scene partner on Zoom. That wasn’t easy, and the process made for some interesting acting exercises. 

PREPARATIONS: PLAYING DUNGEONS & DRAGONS

For all the Dungeons & Dragons (D&D) characters, the production team did rummage through costumes, fabric, and accessories that we’d forgotten we had. We wanted each character to have layers, with furs and patterns. We paired items that I never would’ve thought could be used. For example, Orcus wore a priest’s robe that was a hand-me-down from a retired teacher.

Our one mistake, which I feel like an idiot about yet laughed at myself for later, was that we put Farrah the Faerie in a green costume. Yep, green. In front of a green screen. We realized the mistake too late before we needed to film. We added white lace to the outfit where we could though. Live and learn! Farrah is extra magical, fading in and out of shots.  

REPSONSES FROM THE CAST

The students were shocked when they learned they’d be among the top six on the main stage! Most of these students have never been to ITF in person. Most of them are freshmen. The senior in the cast was most shocked. She’s been to ITF in person and knows firsthand the meaning of being selected to perform on the Main Stage.

The entire cast was smiling from ear to ear when they heard the news. We all realize it’s a huge honor to have our show watched by theatre educators and students from around the world who share our passion. 

Also, in the history of ITF, no New Jersey schools have ever been chosen for the Main Stage. We’re honored to be the first New Jersey school to be listed among the top productions!

PRODUCTION NOTES

Dramaturgical Research
Our dramaturgical research was understanding the game Dungeons & Dragons. None of us knew much about the game except for a couple students. A student in our school is a Dungeon Master that runs games. He quickly became our expert. 

Starting in October, we played the game as a cast using the characters from the play. I gifted each cast member a copy of the D&D book. I’d quiz them on game terminology and monsters. In the end, our game playing brought out more realistic performances.

Virtual Backgrounds
I partnered with my friends at Broadway Media Distributions to get original designs for all the virtual D&D backgrounds and prop images to enhance the story. We spoke for hours each week going over storyboard ideas.

Even if the show had been live, we’d have needed a cyc or screen to project images onto. I feel like we took a play and made it a movie. Broadway Media Distributions made all the ideas in my head come to life. I highly recommend working with them.  

D.I.Y. Hair & Makeup
Each cast member had to create their own D&D hair and makeup look. This was part of their character analysis. They had to send me color boards of their inspiration. Then they presented their ideas to the cast before displaying their final choices. 

I’m proud of their work. They have more makeup skills than I do. This was the first show where they didn’t have help with getting into costume or access to a makeup artist. They were on their own with just minor adjustment notes from me. 

Additionally, they had to redo their hair and makeup as consistently as possible about 20 times for filming. I can’t take any credit for their efforts. It was all them!

Patty Craft is Content Manager for Dramatics.org. She lives and writes on 10 acres in southwestern Ohio where she also hikes to her heart’s content. If you have a story idea, share it here.

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