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Audition for Community Theatre

Andrew Koch — Wed, 28 Jun 2023 22:31:01 +0000

What are you doing this summer? Your love of theatre doesn’t have to end with the school year (or even with high school graduation). Acting opportunities are all around you—if you know where to look.

If you want something more organized than a backyard performance but less professional than a regional theatre, community theatre troupes might be right for you. Though mostly made up of amateurs, community theatres perform shows for the general public and bring accessible theatre to your city.

Here are five reasons to audition for a local community theatre.

Get more acting experience

Quality may be better than quantity, but you’ll still want several roles on your acting resume. Your school likely has time to do only two or three shows in a year (and may be dormant over the summer). But community theatres can operate year-round, giving you additional chances to hone your craft.

Community theatres can also be a fresh start. You may regularly compete with other students for roles you want, but the pool of actors in your age group might be smaller at a community theatre. And you’ll work with a new director and a wider variety of castmates—including older actors who have valuable experience to share (more on this later).

Acting in community theatres can even open you up to a wider variety of roles. A local community theatre might be able to put on shows that your school can’t. For example, maybe you want to play a role from a show that’s too risque (say, Cabaret) or logistically difficult (say, Phantom of the Opera) for your school to put on, or a show for which the rights aren’t available.

Broaden your theatre knowledge

Many companies are volunteer-led, meaning everyone pitches in. In addition to your acting role, you could take on tech responsibilities that will help you round out your resume.

The troupe I’ve been involved with as an adult performs in a public park’s amphitheater. As part of the agreement between the troupe and park, everything must come down after each rehearsal and performance: lights, sets, props and even backstage tents that the actors sit underneath.

By helping out, I’ve expanded my theatre skill set and developed a greater appreciation for the hard work that goes into a show. Though I’ve only been credited as an actor, I’ve also:

taken down and put up set pieces
hung lights and curtains
edited and formatted programs
worked concessions
set up stands and chairs for the orchestra

You might also have an opportunity to assist with costuming, makeup, or marketing the show, or even direct!

Network with local directors and actors

If you’d like to act professionally, community theatres help you meet key people in the local industry, such as directors and actors. They can give you important feedback and expose you to different styles and techniques, and keep you informed of other opportunities (both educational and professional).

Building these relationships can also “get your foot in the door” for future shows. In addition, directors make helpful references for jobs, and can write letters of recommendation for colleges or scholarship programs.

Don’t forget to ask veteran actors for their advice. Some of my favorite memories of community theatre are killing time backstage by tapping the brains of actors who have been in the business for years, even decades—the different roles they’ve played, how the companies have evolved, and even the “drama” behind the drama.

Give back to your community

Local arts need participants, in addition to patrons! Support the arts by showing up in your community. Your troupe might perform free shows at places like nursing homes and schools, bringing theatre to audiences who otherwise wouldn’t have access to it. Or it might provide opportunities for actors who have disabilities or other life circumstances that prevent them from participating elsewhere.

You can also give back by being the mentor you always wanted. Take other new or young actors under your wing, and share what you’ve learned to help them grow.

Have fun!

Make lifelong friends and keep your love of theatre strong. Find a troupe that’s a good fit for you, and you’ll have a creative outlet that lasts—not just for summer vacation, but also after graduation and throughout your adult life.

For more, check out the American Association of Community Theatre and similar organizations for your region.

Andrew Koch is a writer and editor from Cincinnati. He performed in his first community theatre show at age 24.re

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Do This Musical, Not That One

Andrew Koch — Wed, 17 May 2023 21:16:58 +0000

Choosing popular musicals for your program’s next productions can be tempting. Sure, top-of-the-charts cast recordings draw new people to the art of musical theatre, and it can be exciting to tap into that energy.

But popular shows aren’t always feasible. You want your program to stand out, and maybe even attract a general audience. That’s made harder by choosing a show that several other schools are performing or have recently staged. And that’s on top of licensing issues: Companies may grant rights to a popular show to only a handful of schools or programs in a region.

When planning your next season, consider these six less-performed (but no less substantial) musicals.

Popular Musicals in their Own Ways

1776 instead of Hamilton
A cultural phenomenon that sparked interest in both civics and theatre alike, Hamilton remains on Broadway and not at a community or school theater near you. But the oft-overlooked 1776 also dramatizes the founding of the United States (and, indeed was referenced in Hamilton’s “The Adams Administration”).

Of note: 1776’s characters are overwhelmingly male and white, in stark contrast to Hamilton’s race-blind approach to casting. But a 2022 all-non-male revival of 1776 paved the way for new ways of staging the show.

Honorable mentions: Lin-Manuel Miranda’s In the Heights or Bring It On. Both incorporate styles of nontraditional music and have several roles explicitly for people of color.

Once Upon a Mattress instead of Shrek
Though decades older than everyone’s favorite ogre, Once Upon a Mattress (a comedic take on The Princess and the Pea) is also a send-up of traditional fairy tales. And, like other suggestions on this list, Mattress offers more prominent roles for actresses than its male dominated counterpart, Shrek.

Mattress is a comedy, albeit with a different sense of humor. Shrek’s bawdy potty humor and pop-culture references are swapped for physical comedy and sexual innuendo. Mattress’ title itself is a double entendre, and there’s a whole song in which a father pantomimes “the birds and the bees” to his son.

Popular Musicals from the Good Old Days

All Shook Up instead of Grease
Both of these musicals are set in the 1950s. And both of these two shows are full of leather jackets and poodle skirts. All Shook Up trades Grease’s iconic doo-wop pastiche for Elvis Presley’s iconic songbook. School boards or principals concerned with Grease’s mature content might be much more supportive of the more wholesome All Shook Up.

Another reason to choose All Shook Up is that it benefits from not having a popular film adaptation that audiences will compare it to.

Popular Musicals You’ll Want to Get to Know

Once on This Island instead of The Little Mermaid
Disney’s The Little Mermaid tied for the ninth most-produced full-length musical in the Educational Theatre Association’s 2022 play survey. And for good reason: The show’s songs and characters are instantly recognizable to generations of theater goers, and its large cast allows many actors to get involved.

But Once on This Island is based on the same Hans Christian Anderson fairy tale—and it offers more roles for women (Ariel and Ursula are the only two female characters with significant lines in Mermaid) and people of color. The music is just as catchy, featuring a score from Broadway legends Stephen Flaherty and Lynn Ahrens.

Young Frankenstein instead of The Addams Family
The Addams Family, another of EdTA’s top-10 most-produced musicals, is a macabre comedy based on a much-beloved family of characters. Young Frankenstein checks several of the same boxes: a rip-roaring musical based on the popular Mel Brooks film of the same name. Both shows also allow for some audience participation, and don’t require the audience to know the source material to enjoy.

Pippin instead of The Greatest Showman
The Greatest Showman may not be a stage musical (yet), but the 2017 film’s popularity persists. Pippin, the 1972 brainchild of Stephen Schwartz and Bob Fosse, is also set in a kind of circus and features stirring melodies and physical stunts. A 2013 revival starring Patina Miller as the Lead Player (a role historically played by a man) brought new relevance to the show.

Andrew Koch is a writer and editor from Cincinnati. 1776 is his favorite “unpopular” show.

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Believable Characters

Andrew Koch — Thu, 06 Apr 2023 20:03:29 +0000

Acting isn’t just playing pretend. As an actor, you embody a key part of a show. Through your words and actions, you’ll move the story forward, play off other characters, and help convey the show’s themes. Empathetic, authentic performances also create emotional connections with the audience, allowing them to see characters not as roles in a play, but real-life people.

Your role in the show is a big responsibility! Here are four simple ways to bring your character to life.

Believable Characters in 4 Simple Steps

1. Read!
Read the whole script, cover to cover. Take notes about what your character does and (critically) what others say about them. If possible, do this before your production’s table read so you can hit the ground running. Here are other tips for reading through a play, including what elements you might focus on.

Your character study shouldn’t end when you’ve read your script or learned your blocking. As you’re learning lines, try different “takes.” Say your lines using different inflections, or processed through different emotions. This will open up new possibilities for your character (all subject, of course, to your director’s guidance).

2. Consider motivation
You might have heard the stereotypical, melodramatic actor ask “But what’s my motivation?” There’s truth in that trope, as cringeworthy as it may be. Actors need to understand their character’s wants and needs to make them believable.

Ask yourself what your character wants in each scene, and how they do or don’t get it as the action unfolds. Don’t just think about how you would feel and act—the key is getting inside the character’s head, and acting accordingly.

You should also think about how your character’s motivation might change throughout a scene. Maybe they entered the stage to get a snack from a refrigerator, but stayed after becoming interested in a conversation the other characters are having. Showing the different stages of that shift adds authenticity to your performance.

Lindsay Kujawa shares more tips for developing a character in this article. She suggests figuring out how a character’s internal emotions should be reflected externally in your action, as well as placing yourself in the character’s historical, social, political, cultural, religious and economic context. You might even complete creative exercises, like journaling, listening to a playlist inspired by the character, or creating a mood board.

3. Use your whole body
Always be aware of what your body is doing on stage, because the audience can see it. Little decisions can make or break an audience member’s immersion in the show. Any action that reminds them that the person on stage is you and not a character shatters the illusion.

Watch for any ticks or tendencies you might have, such as a repeated arm gesture or subconsciously swaying from side to side. (My wife, who’s been involved with theater for 20 years, calls the latter the “actor’s hula.”) Record and watch your performance. Does the character talk and move like you, or like your character? If you can’t be an objective judge of this, ask a trusted friend.

Here are some suggestions to involve your body in a positive way:

● Walk: Your character may strut into a scene, or tip-toe so lightly that they go unnoticed by other characters.

● Posture: Does your character slouch, or stand up straight? Consider factors like their self-confidence (both in general and in the scene), age and physical ability, occupation, and economic class.

● Arms: Are they crossed in frustration? Clenched behind the back, or placed on the hips? How expressive is your character with their hands while speaking?

● Sitting: Are legs crossed, or straight? If straight, how far apart are your feet?
Consider habits as well. Maybe your character is always fidgeting with something, or has a tendency to stroke his beard in thought. Involve your hair and costumes, too—a piece of hair that’s always in your face or clothes that look shabby, for example. Consult with your tech team.

Author’s note: Leaning into a character to this degree can be challenging. But the more you do, the less awkward and vulnerable you’ll feel. Start big and use those actions to make smaller changes to your body, thereby creating more realistic movements. Remember: you’re not doing these things—your character is!

4. Interact with the world of the show

You should be in character every second you’re on stage—including (and maybe especially) when your character isn’t the center of attention. A good actor knows the most important person on stage is everyone else. How does your character react to what’s being said in conversation. Or, if you’re meant to be in the background of a scene, how are you interacting with others or objects around you?

Though most of your movements and reactions will be prescribed (i.e., decided and rehearsed ahead of time), try to make them seem natural. You don’t want to remind the audience that you know how a scene unfolds ahead of time! Wait to respond until you hear or see something occur, rather than anticipating cues based on rehearsals.

Andrew Koch is a writer and editor from Cincinnati. As a character-development exercise, he once attended a cast dinner as his character.

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Vocal Warm-Ups

Andrew Koch — Fri, 24 Mar 2023 19:12:19 +0000

Vocal warm-ups make for a great cast- bonding activity, and are an opportunity to get out pre-show jitters. You wouldn’t run a marathon (or do any exercise, for that matter) without stretching first. And as any good voice or diction coach will remind you, the muscles in your mouth are no different. Vocal warm-ups are crucial “stretches” as you prepare for a rehearsal or performance—good both for vocal health and for ensuring the audience will understand what each actor is saying on stage.

Here are 8 tongue twisters that go beyond “unique New York” and will get your whole cast buzzing. Have actors deliver the line in character for an extra creative twist.

1. Who washed Washington’s…?
There’s a whole host of Ws in this one—forcing you to keep the words at the front of your mouth and focusing on articulating the latter part of each word. For an extra challenge, sing the phrase, then go up or down a half-step with each iteration:

Who washed Washington’s white woolen underwear when Washington’s washerwoman went west?

(My high school theater program added a short beat between “washerwoman” and “went west.”)

2. The lips, the teeth, the tip of the tongue…
This one is short and sweet. But you’ll be surprised how difficult it can be to say each word in order! Try at faster and faster speeds to sharpen your -s, t- and th- sounds:

The lips, the teeth, the tip of the tongue.
The tip of the tongue, the teeth, the lips.

3. To sit in solemn silence…
This classic dates to at least 1885, where it appeared at the end of the song “I Am So Proud” in Gilbert and Sullivan’s opera The Mikado. You might perform this as a call-and-response, with the cast repeating each phrase after a “cantor:”

To sit in solemn silence
On a dull dark dock
In a pestilential prison
With a life-long lock.
Awaiting the sensation
Of a short, sharp shock
From a cheap and chippy chopper
On a big, black block

Gilbert and Sullivan shows, in general, are a great source for tongue twisters. Hamilton fans will recognize the title of the fast-paced “I Am the Very Model of a Modern Major General” from the duo’s Pirates of Penzance.

4. A big black bug…
As in “Who washed Washington’s,” the alliteration in this phrase allows you to practice separating each word:

A big black bug bit a big black bear
And the big black bear bled blue.

5. Mommy made me mash…
This tongue twister practically melts in your mouth:

Mommy made me mash my M&Ms, oh my!

It’s even “sweeter” when set to music, doubling as an excellent singing warm-up.

6. How much wood…
You’ve probably heard the first half of this famous tongue twister, but the second half adds a bit of complexity:

How much would could a woodchuck chuck
If a woodchuck could chuck wood?
As much wood as a woodchuck could chuck
If a woodchuck could chuck wood.

Like “To Sit in Solemn Silence,” this phrase also has its origins on the stage: the 1903 musical The Runaways.

7. Peter Piper…
Another infamous tongue twister, this nursery rhyme about Peter and his pickled peppers (first documented in 1813) has a few different versions:

Peter Piper picked a peck of pickled peppers.
If Peter Piper picked a peck of pickled peppers,
How many pickled peppers did Peter Piper pick?

All those popping Ps make this a great option for mic checks, too.

8. Something from your (or another) show…
If there’s a troublesome line of dialogue in your show itself, have the whole cast walk through that—even if just one actor will say the line on stage.

For something more musical, you could try “The Speed Test” from Thoroughly Modern Millie or “Supercalifragilisticexpialidocious” from Mary Poppins. A fast-paced rap from Hamilton (Lafayette’s entrance in “Guns and Ships” or Angelica’s “So this is what it feels like to match wits…” in “Satisfied”) might also do the trick.

The Benefits of Vocal Warm-Ups

Your cast has worked hard to memorize their lines and bring pathos to the dialogue. By helping your actors be heard clearly, vocal warmups will ensure they clearly share all that effort with the audience.

Andrew Koch is a writer and editor from Cincinnati. In addition to tongue twisters, he also warms up with strange-sounding vocal exercises.

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Design a Costume Quick-Change

Andrew Koch — Wed, 30 Nov 2022 22:38:23 +0000

Costumes are crucial to any show. Costume quick-change is key, but screenwriters occasionally leave only a short amount of time to transition from one to the next—sometimes not even enough for the actor to get to the dressing room and back.
In cases like these, you’ll need to design a smooth costume quick-change. Here’s how.

8 Steps to a Successful Costume Quick-Change

1. Read the whole script
Hopefully, you’ve already done this! Reading the script is also the first step to any good costume design. Look for any mention of clothing in dialogue or stage directions. Some quick changes are important plot points and will be obvious. But others might only be implied: for example, back-to-back scenes in which a character has very different costume needs.

Don’t look at scenes in isolation—it’s critical to imagine how characters will flow from one scene to the next. How much dialogue will you have for the quick-change to occur? What do you know about the blocking and choreography, and how much time will it take? Is it just one character who needs a fast costume change, or several? Also consider that a character may need to remain on stage even after their last line.

Attend a readthrough or rehearsal (even if you’re still early in the production schedule) to have a better understanding of the scene’s pacing, as well as the actor’s physical needs. You might even time the section of the script.

2. Talk with the director
The quick-change should align with the rest of the show, and your director—who’s involved in every part of the production—will have that perspective. Ask them the following:
● Will the quick-change occur on stage, or off?
● What else is happening on stage at the time?
● What else is happening in the wings at the time?
● Are there on-stage effects (such as lighting or smoke) that will affect the change, either by hiding it or making it more difficult to navigate?
● How are microphones going to be involved?
● Will hair style or wigs also need to be changed?

Your director can help you more fully understand the bigger picture—and you can help them understand what a realistic time frame is for the change.

3. Costume with the quick-change in mind

If possible, your quick-change should be a major factor as you’re designing the relevant costumes. Start with the costume being changed into (i.e., the second being worn). How will the actor put it on, and will they need help from crew members? It obviously needs to go on quickly and may need to be hidden underneath or behind the first costume. Likewise, your crew must be able to remove the first costume quickly, then set it to the side.

One solution could be layers. Can the actor wear the second costume (or at least some elements of it) underneath the first? Removing items is usually faster than putting them on, especially if you make use of “rigging” like snaps (see number 6) or fabrics designed to tear away.

4. Minimize the items being changed
The fewer items being changed, the faster the quick-change will be. Here are a few tips for limiting the number of articles you’ll need to change:
● Combine pieces by sewing them together: This limits the number of pieces being moved and the hands needed. Elsa’s famous “Let it Go” quick-change in Frozen is made possible by her coronation costume being just one piece, rather than a separate skirt, bodice and long-sleeved shirt. (Elsa’s second outfit is also underneath her first, as suggested in number 3.)
● Keep some items the same: Choose shoes, pants, undershirts, etc., that can be used in both costumes. This will save you, the actors, and the crew time and stress.
● Use wigs: Natural hair—with bobby pins, hair ties, ribbons, and sweat—can be extremely difficult to manipulate quickly. If your actor needs to change hair styles or color, wig changes can achieve the same look from the audience with less fuss.

5. Ensure modesty for the actor
Don’t forget the actor! This is a no-brainer if the quick-change is happening on stage as part of the show. But you should also consider modesty if the change is happening off stage. Some actors may have no qualms about changing in the wings in front of other actors and crew members, but you should check to ensure their comfort.

You could have the actor wear skin-colored underclothing (such as camisoles or bike shorts) or a leotard to help them feel more comfortable. You should also set up some time to have the actor meet and talk with the crew members who will be helping them.

6. Design the quick rig
Once you have your costumes and a plan, it’s time to add the “quick rig”: any modifications you need to make to the pieces to facilitate the quick-change. These usually take the form of fasteners that allow pieces to come off more quickly.

Each type of fastener has its benefits:
● Velcro is fast, but loud when removed.
● Snaps are fast and quieter than velcro but can tear fabric if not sewn on properly.
● Buttons are quieter and slower still and may be visible to the audience.
● Zippers are fast and quiet but could become caught mid-zip, hindering the rest of the change.
● Magnets are quick, fast, and discrete. But they may come undone at inopportune times, such as during choreography.
● Hook and eye fasteners hold well but are difficult to fasten quickly.
Decide which works best for the costume pieces and quick-change and make the needed alterations.

7. Organize and choreograph the crew
Just like action on stage, you’ll need to choreograph who goes where and does what during a quick-change. Planning this out ahead of time will prevent something not being fastened or a piece being dropped.

Part of your planning should involve “props” for those helping with the change. Lights are often dim backstage, so small flashlights for crew members can help everyone see better. And all crew members should have an apron with emergency items in case something goes wrong: safety pins, bobby pins, extra fabric, and body tape.

As you’re planning the quick-change’s movements, resist the urge to have the actor do too much. Their focus should be on the scene just before or after, not on the mechanics of the quick-change. In most cases, the actor can help the most by letting the crew do their work.

8. Practice!
Quick-changes are difficult to execute. Practice makes progress, which leads to perfection! Run the change at different speeds and levels of light—slowly at first and in full light, then faster and in lighting closer to the show’s. It may take you up until opening night to work it out. But keep at it and check in with your crew about ways you can improve.

Andrew Koch is a writer and editor from Cincinnati. He thanks his wife (who, as a costumer for a production of Beauty and the Beast, got Belle’s quick-change down to 37 seconds) for her help with this article.

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How to Costume a Show Without Sewing

Andrew Koch — Mon, 24 Oct 2022 20:04:32 +0000

There’s no doubt that sewing is a key part of costuming a show. A beginner seamster or seamstress can get by with just a bit of sewing. (We’ve got some tips here.) But you may not have the time or ability to learn how to sew ahead of your production. These five no-sew options and alternatives will help you costume a show with minimal sewing.

Step 1: Look into your archive

Instead of creating something new, try something old! Dig into any wardrobe or costume stash that your program has to find pieces that could be adapted for your show. Look for items that will need the least amount of work and fit in with your overall costume design. For these, and the other steps we’ll discuss, you can use no-sew tools like iron-on hem tape or stick-on velcro to make alterations as necessary.

Repurposing old costumes is obviously most successful when your program has done a show before. But pieces from a show with a similar setting might do. Leather jackets from Grease would be a natural fit in a later production of All Shook Up, or suits from The Great Gatsby in Guys and Dolls.

You can also think ahead to future shows by making or acquiring simple pieces that can easily be adapted to other shows. My wife, for example, once created simple circle skirts in several colors for Jacob’s wives in a community theatre production of Joseph and the Amazing Technicolor Dreamcoat. Those same skirts—worn just a bit differently—were then used by Gaston’s “Silly Girls” in a production of Beauty and the Beast the next summer.

Step 2: Bring pieces from home

You may be able to ask actors to tap into their own closets. This will obviously depend on your costume plan, but the cast might already have (or be able to purchase for minimal cost) certain pieces that make sense for your show. Many people already own well-fitting staples like pants, dress shirts, and high heels. Using these instead of making or purchasing costumes will save everyone time and money, and put your actors more at ease.

Step 3: Ask other programs for help

One great thing about the theatre community is that it’s collaborative. Contact other local programs to see if anyone has done the same show as you recently, and would be willing to loan you some costumes. You might even do a costume exchange.

Bonus tip: Also ask about easy-to-move set pieces and props that the other program might already have.

Step 4: Go thrift-shopping

If your program, actors, and theatre contacts don’t have what you need, turn to your local thrift store. There among the racks of secondhand clothing might be just the pieces you need to costume your show—common pieces like jeans and plain-colored dresses, or offbeat items like leather jackets, vests and sweatshirts. You are also more likely to find pieces from the actual time period of the show, like a matching skirt and jacket from the 1940s for a production of 42nd Street.

However, know that this will likely be the most time-consuming option. There’s no guarantee the shop will have what you need (and certainly no guarantee that the piece will be the right size for your actor). Plan on making several stops to get everything you need, and accept that you still might need to make some alterations.

Step 5: Rent costumes

When all else fails, seek out costume shops in your area that offer rentals. Costume availability and cost will vary by location, and you’ll probably need to request items well ahead of your show. Make sure you understand the shop’s terms and conditions. Some will allow you to make simple alterations to pieces, but you’ll likely need to reverse them before returning.

If you can, focus on costume shops that cater specifically to theatre companies, and avoid novelty shops, Halloween stores, and sites like Amazon. Though convenient and cheap, costumes from these sources will look cheap under stage lights, especially if they’re intermingled with other, handmade costumes.

Andrew Koch is a writer and editor from Cincinnati. An inexperienced seamster, his costuming philosophy has always been to sew as little as possible.

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New Costumer’s Guide to Sewing

Andrew Koch — Tue, 20 Sep 2022 15:30:47 +0000

No one was born knowing how to sew. But you can be a great costumer regardless of your sewing experience level. Here’s a new costumer’s guide to sewing with eight tips that show you how to navigate costuming a show as a newbie seamster or seamstress.

NEW COSTUMER TIP #1: GET THE RIGHT EQUIPMENT

It takes just a few items to make a basic sewing kit. But if you (or your costume department) decide you’ll take on larger sewing projects, here’s what you’ll need:

A sewing machine: Consider a commonly known brand like Singer or Brother, so you can easily find online tutorials
An iron and ironing board
Straight pins
Tape measure ribbon, for measuring both fabrics and actors
A straight edge
A marking pencil: Consider different colors for different colored fabrics
A sewing gauge
Thread of the correct colors: Carry at least black, navy, gray, white and brown, as well as thread that matches color with the fabric you’re using

You’ll also obviously need your fabrics, as well as patterns for your projects. If possible, secure extra fabric in case you make a mistake or want to do a “trial” piece. Make sure to also check the back of the pattern for any notions you may need, such as zippers, buttons, or elastic.

NEW COSTUMER TIP #2: TAKE A SEWING LESSON

A sewing machine is one of the most important tools for creating costumes, but it’s no good if you don’t know how to use it! Local craft stores usually offer lessons on how to use the machines. You might even consider setting up a private lesson with an experienced seamstress (even if they don’t have experience costuming). You can also find tutorials on YouTube.

Don’t forget to read your machine’s manual, too. It will likely give you some ideas for how to better use it and what you can create.

NEW COSTUMER TIP #3: DESIGN WITH A PLAN

We’ve written before about how you should costume a show. Once you know what you’re getting into, be sure to plan ahead. What pieces will you need to make from scratch? What pieces can you make by simply altering something from a previous show? Don’t be afraid to take on projects that stretch your current sewing abilities—balance that with the need to get pieces done on time.

NEW COSTUMER TIP #4: BUDGET YOUR TIME APPROPRIATELY

Leave yourself enough time to finish all your pieces, and plan to start any labor-intensive projects earlier in the production. Your goal should be to have everything done ahead of the first dress rehearsal. That’s because you want time to adjust costumes that are ill-fitting or otherwise not appropriate. Also consider whether you need an actor’s measurements to begin a piece. If a design isn’t specific to a particular actor, you could even start before the show is cast.

Note that some patterns come with estimated project times, but they might not accurately predict how long the project will take you as a novice.

NEW COSTUMER TIP #5: CONSIDER NO-SEW OPTIONS

Before you make your first stitch, think about other alteration methods that could achieve the same results with less time and handiwork. For example, you might be able to use iron-on patches, or glue pieces together. Maybe you can combine store-bought pieces or repurpose something from your program’s costume closet.

And if stitching the fabric is absolutely necessary, consider hand-stitching. While it may take more time, hand-stitching could result in fewer mistakes (and less frustration!), and less time spent overall on the piece.

NEW COSTUMER TIP #6: CHOOSE PATTERNS YOU UNDERSTAND

When starting a piece from scratch, choose a pattern that’s easy to understand. Brands like Simplicity or McCall’s are designed for new seamsters. The instructions often include more pictures, with sidebars to help you understand more complicated techniques. Make sure you read the whole pattern before beginning.

Also consider using the same pattern to make several costumes, each in a different color. The first costume you make with a pattern will take longer, but you’ll be more efficient with each subsequent piece as you get more experience.

NEW COSTUMER TIP #7: CHOOSE THE RIGHT FABRICS

The amount of fabrics in a fabric store can be overwhelming. But despite that great variety, only a few are appropriate for the stage. Consider the many types, and compare them to other fabrics that are more cost-effective and easier to use.

For example, leather may provide the right “look” for a cowboy vest in Annie Get Your Gun. But leather is very difficult to work with and hot when it’s worn on stage. Flannel might be a better alternative: It looks about the same from a distance with the right lighting, and it’s much easier to work with (both on the sewing machine and while dancing!).

When in doubt, start with cotton or broadcloth. These fabrics are easy to use and cost-effective, and they can create a wonderful picture on stage. They also come in a variety of colors and patterns to add an air of complexity—while saving your sanity in the sewing room. You can add trim or use certain sewing styles to make these simple fabrics really pop.

Make sure your fabrics are also washable, and carefully follow any cleaning instructions. You want your costumes to remain in pristine condition.

NEW COSTUMER TIP #8: SAVE YOUR WORK

If your troupe has the appropriate space, hang on to any costumes you make. You never know when you might be able to reuse a piece in another production. (Check out this interview with a costume shop manager for some space-management ideas.)

Don’t forget to take pictures of your work to add to your portfolio! Try to have pictures both of the costume being worn and on hangers or a dress form. Capture any particular utility or special feature the costume has.

Andrew Koch is a writer and editor from Cincinnati. He’s still new to sewing, and also sometimes cross-stitches in his spare time.

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Costuming a Show

Andrew Koch — Wed, 24 Aug 2022 22:15:15 +0000

Costumes don’t just make your actors look good—they can have a big impact on how the audience understands the production as a whole. These tips will help you design and create stellar costumes.

The 10 Commandments of Costuming a Show

1. Thou shalt read the script A costumer’s biggest mistake is not being familiar with the source material. A script has both direct and indirect information about costumes, and the costume team needs to read for both early in the production process. Even little details can help the audience understand a character’s development. Professional costume designer Shirlee Idzakovich shares some specific clues to look for in this interview with EdTA.

Read between the lines for clues that characters give about their appearances. For example, Vivienne in Legally Blonde cannot wear heels, since another character observes that “both her hair and shoes are flat.”

2. Thou shalt not costume alone Costumes need to be a cohesive part of the production, so consult with other members of the team. Attend production meetings and listen for any decisions that might change the design of the show: notes about setting (especially time period and place), styles of music, hair and make-up design, and even set color. Your costume design needs to work well with all the show’s details, and reinforce the show’s key themes.

Also think about how the actors will move. Does choreography affect what the actor can (or can’t!) wear? Will the actor be using props that might affect their movement, or need to hide a prop in their costume?

3. Thou shalt anticipate costume changes Your script study should include notes about if and when actors will change from one costume to another. Observe how long they have to do so. If they have plenty of time, their costumes can be a bit more elaborate. But if they don’t (i.e., the actor has a “quick-change”), you’ll need to design a costume that’s simple and easy to change.

You might also consider using common items or layers that can be used for multiple scenes. For example, maybe the actor can wear the same pair of pants in both scenes, and just change his shirt. That will limit the number of items you and the actor are responsible for and make costume changes smoother.

For quick-change inspiration, check out Elsa’s on-stage dress reveal during “Let It Go” in Frozen.

4. Thou shalt do research Hit the internet! Research what people wore in the time and place the show is set in. Look at contemporary photos and publications (such as catalogs, newspapers, magazines or even advertisements), and try to find recorded productions of shows that are set in a similar era.

5. Thou shalt sketch it out Regardless of your drawing skills, make a visual representation of what the costumes look like in your mind’s eye. Use magazine clippings, online photos, even dolls or action figures—whatever you can to help the actors, production team, and “seamsters” to understand your goal.

Visualizing the costume will also force you to consider what pieces need to be sewn from scratch, purchased, or repurposed from what you have in storage.

6. That shalt consider the details Costuming a show is so much more than fabric, sewing, and hemming. (Though it definitely involves all of those things!) You also need to consider accessories: hats, jewelry, shoes, purses, and more. Work with your props team to determine when and how items like umbrellas and purses will be used, as well as which department will have custody of them.

7. Thou shalt have costume fittings You should always have actors try on their costumes ahead of tech week—and you should be there to witness how they fit. Ask the actor if they can move how they need to (especially for any dance numbers or action sequences), and watch how the costume (or wig, if applicable) looks with their skin tone or hair color.

Also note the actor’s reaction. An actor should never question a costumer’s design, but their opinion of the piece can affect their portrayal. Evaluate if they seem comfortable in the costume and how it portrays their body. If the actor has a specific concern (and you have the time to listen), listen attentively and help them understand your point of view if there’s a conflict.

8. Thou shalt consider practice pieces Some shows feature pieces of a costume in scenes—almost like characters! For example, the titular “coat of many colors” in Joseph and the Amazing Technicolor Dreamcoat is usually the center of choreography in the song “Joseph’s Coat.”

Instead of waiting until final costumes are ready to fully rehearse those scenes, create practice pieces for the cast. These double as prototypes for your costume crew.

9. Thou shalt watch the final product on stage Stay tuned in during the entire rehearsal process. At least once per week, watch a full run-through of the show and take notes, both for the actors and yourself. You can provide insight on how to manage a costume during a tricky dance, or notice a costume piece that looks good in isolation but doesn’t work onstage with the rest of the cast.

10. Thou shalt enjoy the show Choose a date during the final production to enjoy the work you’ve done. There’s nothing quite like listening to the audience at intermission discussing how nice Shelby’s costume looked in the first scene of Steel Magnolias, or hearing their gasp when Belle enters the stage in her yellow ball gown as “Beauty and the Beast” begins to play. You’ve earned it!

BONUS TIP: If you can’t wash your costumes, at least air them out between shows! The audience won’t be able to smell the actors, but anyone on (or behind) stage will!

Andrew Koch is writer and editor from Cincinnati. He is proud to have worn his wife’s “dreamcoat” design in a 2018 production of Joseph.

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The Dancer’s Toolkit

Andrew Koch — Fri, 08 Jul 2022 19:41:20 +0000

Think your dancer’s toolkit has what it needs? You already know that dancing requires a high level of movement and physicality. Each audition, rehearsal, or performance is its own workout. You probably don’t need us to tell that being a good dancer requires a lot of gear—arguably more than for the other on-stage theatre disciplines.

In a rush, it’s easy to forget to grab everything you’ll need for your performance. So, use this short post to create a checklist for yourself of what to take every time. Then use the checklist to put your dancer’s toolkit together for the next time. These are the must-have items you need to include:

Students at ITF 2022 dance workshop with Santana Trujillo. Photo David Slaughter Photography Network.

Dancer’s Toolkit #1 Item: Shoes

There are almost as many kinds of dance shoes as there are styles of dance! To perform your best across different styles, have a variety of well-fitting shoes: character, jazz, tap, and ballet, to name just a few. You might find pairs in good shape at a flea market or thrift store.
Don’t forget to write your name on the inside of each shoe. You don’t want to get them mixed up with someone else’s!

Dancer’s Toolkit Items for Comfort

Water bottle
Hydration is your key to success. Drink lots of water to keep your muscles working well and prevent yourself from overheating or getting unnecessarily sore. Stick with regular, unflavored water—save the Gatorade or other drinks with electrolytes for after your rehearsals and performances.

Jacket & Legwarmers
Since you’ll likely be wearing something cool and form-fitting, bring along other clothes to wear that you can layer on and off as your body temperature changes. Legwarmers and sweatpants will also help keep your muscles warm and loose between sessions.

Extra Socks & Tights
Depending on how long you’ll be dancing, you may need another pair of tights in case your first tears. Changing into dry socks will also prevent a buildup of sweat—no one wants to dance with smelly feet!

Items Not to Forget!

Hair Supplies
If you’ve got long hair, keep it out of your face by bringing extra bobby pins, barrettes, and hair ties. You might consider a headband or bandana with a bright design instead, to help you stand out from the crowd. In addition to helping you see better while dancing, keeping your hair up will also help you be seen by the director, who can make notes about your facial expressions.

Snacks
Pack healthy snack choices that have a combination of protein and carbs. Avoid anything with a lot of sugar or sodium (salt), which will hinder your performance or make you thirsty. Put your snacks in easy-to-access, resealable containers. You may only have a few minutes to refuel and you don’t want to be messing with messy packaging or trying to decide what to do with the leftovers you don’t eat.

You might also bring mints to keep your breath fresh. (Do not bring gum, which is easy to accidentally swallow and hard to dispose of!)

Wet wipes
When it comes to wet wipes, you’ll find a huge array of options: baby wipes, disinfecting wipes, sanitary wipes, etc. Whichever you choose, wipes can help you clean everything: hands, workout equipment, surfaces where you want to sit, messes you make, and more. (To reference a famous “dance” movie—don’t put those baby wipes in a corner!)

First-aid Kit
You’ll likely pick up a few knocks and bruises in your career as a dancer. Stock your kit with ace wraps, sports tape, bandages and instant ice packs. Don’t forget other first-aid standards like like over-the-counter painkillers and antibiotic ointment.

Stretch Bands & a Towel
Stay limber with this easy-to-store and carry workout gear. Even if you don’t have bands, use a towel to help you stretch out your legs and back.
Speaking of workouts, make sure you have a sturdy surface at home to help with stretches and warm-ups. You don’t need a barre or workout bench—a simple sturdy wooden chair will suffice.

And Last But Not Least…

Sewing Kit
It’s only a matter of time until all that movement takes a toll on your clothes. A needle and thread can help you mend simple tears, and a small pair of scissors will cut any loose threads.

Phone Charger & Bluetooth Speaker
Your phone should stay charged—not so you can text during rehearsal, but so you can use it to record choreography or play music for rehearsal. A bluetooth speaker will help you amplify the latter. You might also consider bringing bluetooth headphones, so you can practice on your own or listen to the music while marking choreography.

Dancer’s Toolkit Bag
Look for something with several pockets, and select a professional design (dark, solid colors).

For more dance tips, check out these lists of some basic jazz steps everyone should know, plus these three steps to nailing a dance audition.

Andrew Koch is a writer and editor from Cincinnati. His wife, whose favorite dance style is tap, helped him compile this list.

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Dance Audition Tips

Andrew Koch — Fri, 20 May 2022 16:50:01 +0000

You’ve probably heard of the triple threat: a performer who’s adept at acting, singing, and dancing. It’s not unusual for actors to give plenty of thought to the first two (warming up their voice, selecting the perfect audition song and monologue) and less to the third.

But movement is an incredibly important part of theatre productions—and perhaps the most difficult to prepare for in an audition. Here are three tips for how to prepare for a dance audition.

Dance Audition Tips: #1 Dress appropriately

Think carefully about what you’ll wear and plan your wardrobe ahead of time. Your clothes should allow for freedom of movement (leave the jeans at home!), while also appearing at least somewhat professional and avoiding possible “wardrobe malfunctions.” Many auditions call for “loose-fitting” clothes, but you might consider wearing something more form fitting—leggings, biking shorts, a leotard, etc.—that will help show off what your body can do.

Make sure you’re wearing the appropriate shoes, as well. Jazz shoes are usually a safe option since they provide just enough traction to keep you from slipping while also allowing you to glide across the floor. But bring several different styles, if you have them. You may be asked to dance in different styles and being prepared will demonstrate how serious you are. You can sometimes find inexpensive shoes at thrift shops.

Don’t forget to tie up long hair to keep it out of your face—facial expressions are crucial to dancing! And if you wear make-up, keep it simple (and waterproof—you might work up a sweat).

Dance Audition Tips: #2 Maintain Your Body

Dance is a workout, and you should prepare your body accordingly:
● Stretch: Warm up your body, just as you would your voice. Running through some simple stretches or even yoga poses will help you be more limber and avoid injuries. Remember to stretch your whole body.
● Hydrate: Bring water with you to keep up your fluid intake. Drinking plenty of water the day before will help, too.
● Eat well: On audition day, skip the sugary drinks, dairy, and fried or otherwise fatty food. Choose lean protein (such as chicken) and carbohydrates (rice, etc.)
● Exercise regularly: Cardio will help build up your stamina, making it easier to run a set over and over again or sing while dancing. And core and leg exercises will help with your balance, flexibility, and technique. Just don’t work out too closely to your audition—you don’t want to be sore!
● Sleep well: The night before your audition is a great time for no plans and plenty of relaxation. In addition to giving your muscles adequate rest, a good night’s sleep will also help recharge your mind, making you better able to remember the many moves and combos you’ll be taught for the audition. Both your brain and your body will thank you!

Dance Audition Tips: #3 Do your homework

Learn as much as you can about the show you’re auditioning for. Dance auditions often implement choreography that will later be used in the production and set to the show’s music. Studying the show ahead of time will put you in the best position to know what to do, and maybe even what cues to listen for in the music.

Consider researching these points: What genre is the show’s music? What style(s) of dance have choreographers applied to the show in the past? After all, the music and dance styles for a more traditional show like Carousel are going to differ greatly from a more modern one like In the Heights. See if you can find recorded performances online or through your local library.

You can also practice some basic dance moves (especially jazz steps), and online tutorials will help you expand your base of knowledge. You might even consider taking a dance class online or through a local recreational center or dance studio. Study technique as well as steps—for example, pointing your toes and employing facial expressions to enhance your performance.

Finally, as always, stick to basic audition etiquette: Arrive early, smile, be polite, and remember that your audition begins the moment you walk in the door. Directors aren’t just looking for talented dancers—they’re also looking for people who can learn and will be easy and pleasant to work with. Have fun and break a leg! (Metaphorically, of course.)

Andrew Koch is a writer and editor from Cincinnati. His most significant dance accomplishment was completing the “Shipoopi” in a production of The Music Man.

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