The British Theatre Guide: Creating a Company

School & Youth Theatre

Creating a Company

No matter when you start the production of a school show, there are always going to be new members, kids who have never worked with you before. Of course, if you're starting for the first time, they're all going to be new. They'll probably be from different years, and different form and teaching groups. They'll all know you - even if you haven't taught them, they'll know you by reputation - but you won't necessarily know all of them. Somehow you have to mould of these disparate individuals into a company which can work together.

First of all, let's sort out exactly what you are trying to achieve, and why.

For the kids to give their best, they have to be comfortable with what they are doing and have confidence in themselves. It's your job to build that comfortableness and confidence through your training and rehearsals. If the school already has a track record of successful productions, then you're well on the way, for they will know what to expect from you. And, of course, you also have the advantage that kids do tend to accept the teacher at face value! But they also need to be comfortable with, and trust, each other. That's got to be your first job, before you start reading through, blocking or any of the other necessary technicalities.

For a start, stop thinking of them and referring to them as the cast: think of them and address them as the company. This seems a fairly minor thing, but it isn't. You don't want them to think of themselves as a bunch of school kids doing a school play, but as a group of actors and actresses. And you've also got to get them thinking that you are part of the company. This is not the usual school them and us situation! Everybody concerned is us.

You need to get this across to them at the very first meeting. The first instruction you should give is "Shake hands with everybody in the room". In the vast majority of instances, they'll shake hands with each other and totally ignore you. Don't let them get away with it! But don't tell them, either: simply say, "You haven't done it." Eventually the penny will drop and they'll shake with you, too. Don't labour it: you've made your point. They'll get the message!

Then play some games which engender trust and reliance on each other. Here are a few examples - I'm sure you can dream up more:

Into pairs. One is blind, the other sighted. The sighted person leads the blind one by the elbow around the room, protecting him/her from any danger or from coming into contact with anyone else. Swap over.
A development of the above. In the same pairs, the sighted one guides the blind by voice alone.
A further development. The pairs wander around the entire school, inside and outside, up and down stairs.
(You will need yourself and one other outside of this game, to ensure safety) Everyone finds a space in a circle, facing towards you in the centre. Eyes closed. They are now to walk around the room, blind, and whenever they bump into anyone else, they stick to that person and must walk around with them. This should continue until all of the group are stuck together - by which time they will probably collapse in a giggling heap on the floor. You and your assistant must ensure that no one bumps into anything except another player.
Everyone gathers in a group in the middle of the room. Using a rope or soemthing similar, lay out the shape of an "island" on the floor, onto which they just fit. On your word, they leave the island and, as in Musical Chairs, they walk around the room. You, meanwhile, reduce the size of the island. On your word, they are to get as many of them onto the new island as possible. Emphasise that the aim of the game is to get as many people on as possible, that they should cooperate to do so. They have failed if anyone has to be "out" because they cannot fit onto the island. Keep repeating, reducing the island's size every time. The game finishes when there is only room for one person to stand: how many people can that one person support? The answer, incidentally, is usually four: one on his back, one in his arms, and one standing on each of his feet! If some are very small and the one standing is big, he can sometimes tuck one under each arm, making a total of five!
Work in groups (pairs or threes are best: anything more gets too complicated!). The teams line up at one end of the room and are told that they have to cross the room with X number of body parts in contact with the floor. In pairs, four body parts means that they can both walk (two pairs of feet); two means one carries the other, and so on. Try them with odd numbers, like nineteen! (NB: a hand, including its fingers, is one body part, not six!)

On every possible occasion, stress the fact that they are a theatre company. Encourage them to offer their own ideas on whatever you are doing. Let them see you consider their ideas. Discuss them. If you decide that an idea is not suitable, then say so, but also say why. If someone comes up with a good idea, then use it - and give the originator the credit. Talk all the time about "we", not "you". Nip any "them and us" situations in the bud.

On the other hand, I do encourage "them and us" thinking about the company and other kids (and staff!) in the school. Don't get me wrong: I don't denigrate others, kids or staff; I simply make it clear that the members of the company are, to me at any rate, special.

Finally, treat them like a theatre company and not like school kids - in the theatre situation, that is: the classroom is very different. That is something they'll accept quite easily. For instance, during the run of a show I use the traditional theatre calls. At 6.55 (we always start our shows at 7.30, so 6.55 is the Half - half an hour before the Beginners call), I announce, "Good evening, ladies and gentlemen. This is your half hour call. Thirty minutes, please, ladies and gentlemen."

And at the end of the show I'll thank them and tell them the time of their call for the next performance. "Thank you very much, ladies and gentlemen. Your call for tomorrow's performance is ...." I always try to be there as they come off-stage to thank each one personally, whether main character or the youngest member of the chorus - "Well done. Thanks!"

Small things like this matter!