http://www.education.com/magazine/article/Why_Childrens_Theater_Matters/
Why Children's Theater Matters
Why doesn't it? I can't tell you how many people tease me about wanting to do theatre with children. It's seen as a dreaded job that no one finds creative or artsy or even productive. I personally love creating beautiful art and I believe we can create it with and for children as well. Where did all the actors start out? How many actors say "Ah yes I've been acting since the ripe age of two." Really now? And was that on Broadway? No. It was probably at a community theatre down the street with a wonderful 80yr old woman who taught you that what you had inside yourself was important. At least that was what I had. And I still love that old woman (she really wasn't 80).
The article talks about how behind America is on it's children. Europe has already been on this trek for years now. Arts create higher academic performance and higher test scores. My main motivation for children's theatre is stated on page two of the article :If you inspire a love of theatre early on, there's a better chance that your child will develop creative gifts, and maintain a lifelong appreciation for the performing arts. The people that are producers and that fund the arts today were once inspired by the arts long ago. We need audience members, just like products need customers. We have to create them and mold them. "Theatre makes for smarter, braver, human beings. Theatre helps connect the head to the heart." It's about teaching emotions and connections to the world.
"Facts are just facts and as a society, with a touch of the calculator or hit of google, kids can find a factual answer." We have no need for books because of all this technology-however "that can't teach a mind to be subtle and flexible." Facts and technology are important, but art is what makes us human. Art reflects life. It mimicks humanity. And humanity and life are what we want to share with our children.
And not just fairy tales. No. I want to take it farther. I want the Holocaust and Shakespeare and stories that have been passed down from ages ago. If you don't think kids can understand them or get anything out of them, just think about your favorite things as a child. I watched Pretty Woman at the age of 6 and ADORED it. I loved the music and the passion. I felt the emotion of wanting to be connected to another human being. No I didn't get that she was a prostitute and no I didn't understand why she had to leave upset and yes I thought the condoms were lollipops- but I got something out of it. I saw Gone With the Wind at age 10 and I've never stopped loving it. Each time I watch it I learn something more about emotions, about life's hardships, and about what it means to be alive. That's why I chose Noodle Doodle Box-an absurdist peice instead of a fairytale or silly story about some duck who learns that being pretty gets you everything.
http://dspace.uah.es/jspui/bitstream/10017/5035/1/Absurdist%20Trends%20in%20American%20Children's%20Theatre.pdf
Absurdist Trends in American Children's Theatre
This article was the deciding factor in my peice. It is exactly what I want to say. Children's theatre must be better. After all, have you ever heard anything but the awful truth out of a child's mouth? Kids say the darndest things. They are the biggest critic because they are so honest with the world, they don't know what else to be. In asia, only the best actors can perform for children. Here in America, we'll let our kids watch anything (Note: Boo Bah or The Wiggles and Dora the Explorer who is most certainly an illegal immigrant). Anyways. Noodle Doodle Box has a silly title, yes, and it has silly characters who do silly things. However, strip it down and you'll see the reality of it all. It's about sharing personal space and being possessive. It's about the father and child relationship, the superego and the ego and the ID. It's about the power of manipulation and misuse of authority. It's about keeping those you love close. Two cardboard boxes serve as physical representations of social alienation. These things may seem over the top- but it's very obvious when you really look at the script.
http://www.eric.ed.gov/PDFS/ED319532.pdf
First Grade Children's Comprehension and Recall of Noodle Doodle Box
I never read this article/study all the way through because it's a lot of information, however I just find it interesting how much there is to find on such a small play. It seems a lot more popular than I assumed. This also confirms my belief that this play should be performed for K-3rd grade and no higher. My advisor would like it to be for 5th graders but I just don't think it translates well to them. They have phones and facebooks and things now a days and I just think they'll look at this and say it's silly and blow it off. The movies have made them static to theatre. It is too late to change them.
Tuesday, December 14, 2010
First Meeting
It's real? It's happening? YES! It's all starting to come together.
We had our first meeting Mon Nov 22nd. We had to do it really late because one of my actors had another rehearsal and other actors were rehearsing for the New Student Review, which I had directed two scenes in as well. I have to say- the night didn't go as professionally as I'd like it to- but it was a lot more fun than I expected! I am friends with all of them in general. This wasn't on purpose, I promise you, but only comes naturally because there are about 60 people in our department and we are constantly working together on shows and behind the scenes and have classes together or find that our schedules match and we talk in the green room. We were slow to start and the meeting went a little longer than planned. I wish I could get on top of keeping things organized.
Our agenda consisted of:
1. Thank You
2. Introduction of cast and crew
-we said our names, where we're from, what year we are, what our part in the show is and what our
favorite place to go as a child was
3. Timeline
-read through during finals week
-dec 3rd designs are due
-collaborate everyone's schedule
-week of Feb 8th is tech week
-performance dates
-taking it on the road depends on school and hospital preference
-missing class
4. Introduction of the show
-Characters
-Setting
-Synopsis
-Proposal
-Concept
-Playwright Bio
-History
5. Children's Theatre
-What is it?
-Why is it important?
-Absurdist trends
-Hospitals and Schools
6. Blog (this!!!!)
7. Scripts
8. Contact Sheet
9. Goals
10. Questions
11. Thank You Thank You Thank YOU :-)
I basically went over everything they needed to know to get started. They listened patiently, even though at times I didn't think they cared, I know that I was just getting nervous. This peice is very important to me and I wanted them to really get that. I also wanted them to understand that they didn't have to do this. I'm not paying them. They don't get credits. They don't get to meet great connections. They aren't getting much out of it- however, I appreciate it more than they know. I love them dearly for commiting to this production.
We had our first meeting Mon Nov 22nd. We had to do it really late because one of my actors had another rehearsal and other actors were rehearsing for the New Student Review, which I had directed two scenes in as well. I have to say- the night didn't go as professionally as I'd like it to- but it was a lot more fun than I expected! I am friends with all of them in general. This wasn't on purpose, I promise you, but only comes naturally because there are about 60 people in our department and we are constantly working together on shows and behind the scenes and have classes together or find that our schedules match and we talk in the green room. We were slow to start and the meeting went a little longer than planned. I wish I could get on top of keeping things organized.
Our agenda consisted of:
1. Thank You
2. Introduction of cast and crew
-we said our names, where we're from, what year we are, what our part in the show is and what our
favorite place to go as a child was
3. Timeline
-read through during finals week
-dec 3rd designs are due
-collaborate everyone's schedule
-week of Feb 8th is tech week
-performance dates
-taking it on the road depends on school and hospital preference
-missing class
4. Introduction of the show
-Characters
-Setting
-Synopsis
-Proposal
-Concept
-Playwright Bio
-History
5. Children's Theatre
-What is it?
-Why is it important?
-Absurdist trends
-Hospitals and Schools
6. Blog (this!!!!)
7. Scripts
8. Contact Sheet
9. Goals
10. Questions
11. Thank You Thank You Thank YOU :-)
I basically went over everything they needed to know to get started. They listened patiently, even though at times I didn't think they cared, I know that I was just getting nervous. This peice is very important to me and I wanted them to really get that. I also wanted them to understand that they didn't have to do this. I'm not paying them. They don't get credits. They don't get to meet great connections. They aren't getting much out of it- however, I appreciate it more than they know. I love them dearly for commiting to this production.
Wednesday, December 1, 2010
Audition Form
Audition Form for Noodle Doodle Box
Name: _______________________________________________
Email: _______________________________________________
Cell Phone #: _________________________________________
Year: __________
Major/Minor: _________________________________________
Role Interested in: _____________________________________
Previous Experience (or attach resume):
Production Role Location
1) | ||
2) | ||
3) | ||
4) | ||
5) |
Are you comfortable with improv? Yes No
List any children’s theatre experience:
_____________________________________________________
_____________________________________________________
__________
Are you available:
February 1st-5th we hope to go to area schools and children’s hospitals
February 10th will be a Thursday matinee
February 11th will be the Friday night performance
Yes No
What was your favorite game as a child?
___________________________________________________
Please list any other conflicts that will intervene during the end of this semester and the beginning of next semester:
___________________________________________________
___________________________________________________
___________________________________________________
_____________________
Audition Sign Up Sheet
Auditions for Noodle Doodle Box By Paul Maar Senior Student Directed Spring One-Act Director- Corinne Productioni Assistant- Aly Stage Manager- Chelsea Characters: Zacharias Pepper Drum Major Note: Character gender is completely flexible and I do not have any certain gender specification for any role Synopsis: German playwright Paul Maar’s absurdist play, Noodle Doodle Box, revolves around the relationship between two clownish characters, Zacharias and Pepper. They each live in their own box and refuse to share it with the other. Early on, the two test the limits of their friendship and wind up tormenting each other in a variety of childish ways. When a greedy, pompous, and overbearing Drum Major appears and decides he likes both boxes, he uses the friend's competitive natures to pit them against each other so he can steal both boxes. Time Commitments: February 1st-5th we hope to go to area schools and children’s hospitals February 10th will be a Thursday matinee February 11th will be the Friday night performance |
-Please come prepared to read scenes from the script with a partner. |
-Dress professionally but comfortably, skirts are not recommended, be ready to improv and move a little. -Please sign up two per time slot. -If these times do not work for you, please email me _________ with times that you are available and I would be happy to schedule a separate audition. -Please take your time commitment in the spring into consideration. You may not audition if you are involved with Rent/Boheme in any large way. Take into consideration that we are planning on taking this to area schools and children’s hospitals so time might need to be taken out during class hours -Sides are available to take a look at posted next to the audition sheets, preparation and memorization is not required. -Please direct any questions or concerns to __________ . |
Tuesday Nov. 16th Time Name Email Cell Phone # 4:00pm ___________________________________________ ___________________________________________ 4:15pm ___________________________________________ ___________________________________________ 4:30pm ___________________________________________ ___________________________________________ 4:45pm ___________________________________________ ___________________________________________ 5:00pm ___________________________________________ ___________________________________________ 5:15pm ___________________________________________ ___________________________________________ 5:30pm ___________________________________________ ___________________________________________ 5:45pm ___________________________________________ ___________________________________________ 6:00pm ___________________________________________ ___________________________________________ 6:15pm ___________________________________________ ___________________________________________ 6:30pm ___________________________________________ ___________________________________________ 6:45pm ___________________________________________ ___________________________________________ 7:00pm ___________________________________________ ___________________________________________ Wednesday Nov. 17th Time Name Email Cell Phone # 6:00pm ___________________________________________ ___________________________________________ 6:15pm ___________________________________________ ___________________________________________ 6:30pm ___________________________________________ ___________________________________________ 6:45pm ___________________________________________ ___________________________________________ 7:00pm ___________________________________________ ___________________________________________ 7:15pm ___________________________________________ ___________________________________________ 7:30pm ___________________________________________ ___________________________________________ 7:45pm ___________________________________________ ___________________________________________ 8:00pm ___________________________________________ ___________________________________________ 8:15pm ___________________________________________ ___________________________________________ 8:30pm ___________________________________________ ___________________________________________ 8:45pm ___________________________________________ ___________________________________________ 9:00pm ___________________________________________ ___________________________________________ |
Auditions
It's really tough to audition people. As a human we are born with this automatic ability to analyze things. We take in pupil size, posture, colors, and all kinds of other key identifiers within the first 30 seconds of meeting someone and then within the first three minutes we have made up our minds about this person/thing. I feel like the process of auditioning hasn't changed much in the past hundred years. We do a monologue or a cold read after introducing ourselves and then we leave for the next person or group to go in.
Most of the people who auditioned for me, I already knew. I had talked it up a little bit and a lot of the Freshmen seemed interested. None of the upperclassmen auditioned. In fact, most of them were freshmen. I didn't have them prepare anything. I had them sign up to audition in groups of twos.When they arrived I just had them fill out a form that I created and read the synopsis of the play. In the audition room, I conducted two improv games and then had them read two cold readings. The improv games were simple. The first I called "banned to the basement" where the two actors had to pretend they were brother and sister, 7 years old, banned to the basement by mommy because they were fighting or because mommy had a guest over and wanted quiet time. They then had to create some kind of game to occupy themselves in the basement. I didn't tell them what was in the basement, they created that themselves. I got a lot of interesting things-one was crab races, one was playing fire station, another was hide and seek. The next improv game was playing school. I had the less dominant personality be the teacher and the other one be the student and to draw on the white board present in the room. They were to still act as the same characters as before. The most common result was teaching the sibling numbers, how to count, spelling or math. The odd things were shapes and one actor even went as far as to teach the other how electricity was found by George Washington and a kite. Needless to say, that was my favorite.
The next part of the audition was to read from the scenes. One was with the two main characters and the other was with one main character and the third lesser but most influential character. The scenes went very well. They didn't do a lot of movement because the script required a few props that weren't present. It surprised me when people gave different personas to characters. The most frustrating thing was when actors didn't make big choices, meaning when they stuck to the script and read it as though they were reading a book. Things I liked were choices like changing pitch or changing volume, deciding on specific blocking, or even just looking at their acting partner differently. Most actors kept their face in the script which hindered connecting with their scene partner. I looked for commitment to the script, eye contact and relationships with their scene partners, big choices, and vocal quality and patterns. I looked at how prepared they were- did they fill out the entire form, did they bring a resume, were they dressed appropriately and professionally, did they have answers to my questions. I looked at how they acted- were they comfortable with my absurdist script, were they comfortable with acting, were they comfortable with improv, did they seem genuinely interested in my production, and did they introduce themselves, greet me and say thank you when they left? You might think "God she's picky," but it's very easy to note these things and they really show a lot about character.
I had two people ask if they could audition the next day for me, which ended up being three. It was a little frustrating to have to schedule more appointments but I was excited to see new actors. By the end of all the auditions, I had a huge decision to make. My cast calls for three people, non gender specific. That's the great thing about children's theatre. I decided on an all Male production. I am happy with my decision. I chose three baby faced boys who have large expressions and high energy that children will be attracted to watching. I'm very excited about starting to work with them.
Most of the people who auditioned for me, I already knew. I had talked it up a little bit and a lot of the Freshmen seemed interested. None of the upperclassmen auditioned. In fact, most of them were freshmen. I didn't have them prepare anything. I had them sign up to audition in groups of twos.When they arrived I just had them fill out a form that I created and read the synopsis of the play. In the audition room, I conducted two improv games and then had them read two cold readings. The improv games were simple. The first I called "banned to the basement" where the two actors had to pretend they were brother and sister, 7 years old, banned to the basement by mommy because they were fighting or because mommy had a guest over and wanted quiet time. They then had to create some kind of game to occupy themselves in the basement. I didn't tell them what was in the basement, they created that themselves. I got a lot of interesting things-one was crab races, one was playing fire station, another was hide and seek. The next improv game was playing school. I had the less dominant personality be the teacher and the other one be the student and to draw on the white board present in the room. They were to still act as the same characters as before. The most common result was teaching the sibling numbers, how to count, spelling or math. The odd things were shapes and one actor even went as far as to teach the other how electricity was found by George Washington and a kite. Needless to say, that was my favorite.
The next part of the audition was to read from the scenes. One was with the two main characters and the other was with one main character and the third lesser but most influential character. The scenes went very well. They didn't do a lot of movement because the script required a few props that weren't present. It surprised me when people gave different personas to characters. The most frustrating thing was when actors didn't make big choices, meaning when they stuck to the script and read it as though they were reading a book. Things I liked were choices like changing pitch or changing volume, deciding on specific blocking, or even just looking at their acting partner differently. Most actors kept their face in the script which hindered connecting with their scene partner. I looked for commitment to the script, eye contact and relationships with their scene partners, big choices, and vocal quality and patterns. I looked at how prepared they were- did they fill out the entire form, did they bring a resume, were they dressed appropriately and professionally, did they have answers to my questions. I looked at how they acted- were they comfortable with my absurdist script, were they comfortable with acting, were they comfortable with improv, did they seem genuinely interested in my production, and did they introduce themselves, greet me and say thank you when they left? You might think "God she's picky," but it's very easy to note these things and they really show a lot about character.
I had two people ask if they could audition the next day for me, which ended up being three. It was a little frustrating to have to schedule more appointments but I was excited to see new actors. By the end of all the auditions, I had a huge decision to make. My cast calls for three people, non gender specific. That's the great thing about children's theatre. I decided on an all Male production. I am happy with my decision. I chose three baby faced boys who have large expressions and high energy that children will be attracted to watching. I'm very excited about starting to work with them.
Welcome
Welcome to my blog! I'm a twenty something actor/children's theatre adict/part time director who is about to venture into her directing practicum. It's basically the ultimate goal for someone to direct their own show after being in the program for four years, that is if you have interest in directing.
Because of my devoted interest in children's theatre I have chosen a children's piece called Noodle Doodle Box. Down to the simplest terms- it's about friendship and sharing. Deep down it has a lot of other really important concepts but the children aren't demanded to understand them. Below I have copied the characters and synopsis and my proposal so that you can fully understand what I'm about to do. There will be two performances on campus and the rest we will be taking on tour to children's hospitals and schools.
Zacharias and Pepper argue over who has the better box to see who gets to march with the drum in front first. The Drum Major becomes a “relational bully” by pretending to be their friend and telling lies about the other person while each is gone marching with the drum offstage. After Zacharias marches away, the Drum Major tells Pepper that they should teach her a lesson about being nice to people–so they hide Zacharias’s box inside Pepper’s box. While Pepper is gone, Zacharias sees that her box is missing, and the Drum Major tells her they should take Pepper’s box to teach him a lesson. So they push Pepper’s box offstage. When Pepper comes back and finds his box missing, the Drum Major leaves to go “investigate”–but she is really leaving in her truck and stealing both their boxes!
Zacharias and Pepper confess what they did to each other and now understand that everything happened “because we didn’t stick together....It’s our fault.” Then, magically, Zacharias finds an even bigger box–but she still wants to keep the new box all for herself. Pepper feels really upset, so he finally leaves Zacharias to go find another friend. But Zacharias doesn’t like playing all alone with the big box by herself. When Pepper comes back to get his water bottle, Zacharias decides they should share the box because two people can play together better than one. Even when the Drum Major comes back in disguise, they tell her to leave. They’ve learned to share and play nicely together in one big box as real friends.
Because of my devoted interest in children's theatre I have chosen a children's piece called Noodle Doodle Box. Down to the simplest terms- it's about friendship and sharing. Deep down it has a lot of other really important concepts but the children aren't demanded to understand them. Below I have copied the characters and synopsis and my proposal so that you can fully understand what I'm about to do. There will be two performances on campus and the rest we will be taking on tour to children's hospitals and schools.
Characters:
Zacharias: the big, strong one, wears a jacket with a wide plaid design, shoulders excessively padded and underneath a striped pullover, pants are too short and too tight, wears laced boots and a bowler hat
Pepper: the little one, pants are too big, pulled up by suspenders, almost to armpits but are still too long, tuxedo jacket on top of it all which is too small, held together in front by a safety pin, sleeves above elbows, always walks around in socks
Drum Major: may be white faced, fantastic uniform with gaudy decorations hanging from it, medals clang on his c hest, cap has colorful windmills which turn as he walks, large marching drum hangs from his neck, cymbal on top of drum, maybe even colored bulbs on shoulders that light up as he marches
Set:
The major set pieces are two large wooden boxes large enough for an adult actor to disappear into, screens or a pair of hinged flats to serve as a backdrop and a variety of different-sized cardboard boxes and cartons. Zacharias’ box is the smaller of the two. It is painted red on two adjoining sides and green on the remaining ones. Pepper’s box, the larger one has two holes on opposite sides large enough to put arms through. Attached to the inside of the box next to each hole are a large cardboard arm on the right and a doll’s arm on the left. Costumes suggest clown types but not played in a broad slapstick manner, rather subtle suggestion of those stock characters. Any songs or music is left to improvisation by actors.
Synopsis:
Zacharias and Pepper are two clowns who live and play in two different-sized boxes. Zacharias calls Pepper a “pig,” “camel,” and “big mouth” because she feels superior to him–she is tall, neat, and clean, and Pepper is short, messy, and loud. She teases him for not being able to read and hits him with a newspaper. She shows how her box is better than his box–it’s red on one side and green on the other–and she won’t let Pepper play in it. Each time that Zacharias hurts Pepper’s feelings, Pepper cries out, “You’re mean....I’m through being your friend.” But Zacharias replies, “You mean to say, I am through being your friend. I don’t want to have as friends people who can’t take a joke and especially people with such a shabby box,” and she spits on it. So Pepper plays alone in his box and discovers it has one big arm and one small arm. Now Zacharias wants to play in Pepper’s box, but he won’t let her until she wipes it clean, because “I don’t find anything funny in spitting.” Pepper decides to control Zacharias the way she did with him, and they end up arguing all over again until a Drum Major (a female actor) grabs their attention by marching in with a very attractive drum.Zacharias and Pepper argue over who has the better box to see who gets to march with the drum in front first. The Drum Major becomes a “relational bully” by pretending to be their friend and telling lies about the other person while each is gone marching with the drum offstage. After Zacharias marches away, the Drum Major tells Pepper that they should teach her a lesson about being nice to people–so they hide Zacharias’s box inside Pepper’s box. While Pepper is gone, Zacharias sees that her box is missing, and the Drum Major tells her they should take Pepper’s box to teach him a lesson. So they push Pepper’s box offstage. When Pepper comes back and finds his box missing, the Drum Major leaves to go “investigate”–but she is really leaving in her truck and stealing both their boxes!
Zacharias and Pepper confess what they did to each other and now understand that everything happened “because we didn’t stick together....It’s our fault.” Then, magically, Zacharias finds an even bigger box–but she still wants to keep the new box all for herself. Pepper feels really upset, so he finally leaves Zacharias to go find another friend. But Zacharias doesn’t like playing all alone with the big box by herself. When Pepper comes back to get his water bottle, Zacharias decides they should share the box because two people can play together better than one. Even when the Drum Major comes back in disguise, they tell her to leave. They’ve learned to share and play nicely together in one big box as real friends.
Playwright Bio:
Paul Maar
-one of the most important modern German writers for children and young people
-novelist, playwright, translator and illustrator.
-Born December 1937 in Schweinfurt
-studied at the State Academy of Arts in Stuttgart
-worked as a stage designer and stage photographer for the Franconian castle theatre Massbac
-spent ten years as an art teacher
-Since 1976 he has worked as a freelance writer
-lives in Bamberg with his wife and three children.
-written many of the Augsburger Puppenkiste classics
-has been given many awards, among others the German Youth Literature Prize, the Austrian State Prize and the Brothers Grimm Prize
-Maar has created the libretto for an opera and musicals and designed sets for the theatre
- He had great success with his first book, Der tätowierte Hund (The Tattooed Dog, 1968), a tale about bad Hansel and Gretel and the good witch
- most read works are a series of books about Sams, an uppity fantastic creature with blue spots and red hair and a pig’s nose who can grant wishes Eine Woche voller Samstage (A Week Full of Saturdays, 1973), Am Samstag kam das Sams zurück (Sams Returned on Saturday, 1980), and Neue Punkte für das Sams (New Spots for Sams, 1992). In 1996 Maar was awarded the Deutscher Jugendliteraturpreis (German Prize for Children's and Youth Literature) for the entire body of his work
-Two films, called Das Sams and Sams in Gefahr (English name My Magical Friend Sams), have been made of the Sams books
-Two films, called Das Sams and Sams in Gefahr (English name My Magical Friend Sams), have been made of the Sams books
History:
Noodle Doodle Box has been performed around the world to universal acclaim. It was adapted from a German play entitled Kikerikiste. “Kiste” is the German word for “box”and “kikeri” is the noise German children make for a rooster’s crow. After seeing a production in Berlin, the translators thought Kikerikiste would be a great play for American audiences (although they chose to call it Noodle Doodle Box, not the more literally translated “Cock-a-doodle-doo Box”). They were right. Since their adaptation was published, the piece has been produced in theaters across the United States, enchanting audiences of all ages. The Theatre Resource Directory commented that Noodle Doodle Box offers “an engaging lesson in learning to share and live together,” adding that it is “an important children’s work, but more importantly, a delightful, entertaining play.” It has a very silly title, but a very serious message about what it means to be a friend, and reminding us that the differences and disagreements that come between us can ultimately make our friendships even stronger.
Themes: Friendship, Sharing, Bullying, Power Struggle, Personal Space, Communication, Alienation
One Act Proposal
Piece-
Noodle Doodle Box
Written by Paul Maar
Adapted and Translated by Anita and Alex Page
Statement of Purpose-
This lighthearted farce is an impactful and didactic tale of friendship that is also entertaining. I wanted to choose a children’s piece that would be appropriate for adults and children alike. I think that the characters are relatable even though they live in an extreme world of their own. I also think that this play develops a firsthand look at what is important in our friendships and how we can keep them healthy.
Statement of Goals-
To engage young audience members in a didactic experience about friendship values and to entertain all in a humorous sketch about power struggle and manipulation. I would hope my audience would relate to the outlandish farcical characters and be able to see situations in their own life played out on the stage. I will portray the inner workings of a friendship threatened by greed.
Spine-
Human kind manipulates others in order to get what they most desire.
Concept-
The manipulation and exaggeration of things to make them different than we expect.
Super Objective-
Will Zacharias and Pepper keep their friendship even though the Drum Major is turning them against one another?
Production Values-
The set is simple, consisting of two large boxes that the two characters consider their “home.” A drum with straps for wearing is the only essential prop. Some small props including blocks, a slinky, or other children’s toys are also possible. The drum major could have a full flashy band uniform, however it is not necessary. Costume pieces for the other two characters are silly child-like clothing that reflects their personalities.
My goals are basic.
To teach To reach out
To inspire To enjoy
To heal To learn
To entertain To explore and imagine
I just want to have fun and learn from this process. I hope that you can follow me through my journey and perhaps learn from my mistakes or be able to offer advice. I'm very excited about this journey and I can't wait to begin!
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