In all the world, in all works of literature I've read, all the plays and movies, I've never heard a better description of play production than the one offered in Marc Norman and Tom Stoppard's Shakespeare in Love. The scene shows Phillip Henslowe, theater owner, explaining to one of his investors the nature if the theatre:

Phillip Henslowe: Mr. Fennyman, allow me to explain about the theatre business. The natural condition is one of insurmountable obstacles on the road to imminent disaster.

Hugh Fennyman: So what do we do?

Phillip Henslowe: Nothing. Strangely enough, it all turns out well.

Hugh Fennyman: How?

Phillip Henslowe: I don't know. It's a mystery.

Of all the challenges I faced as the leader of the Dramamaniacs, the biggest one was trying to pull off a play. One act and full length plays are worlds apart from the week to week skits we did. It takes a different type of rehearsal, a different type of work ethic, and a different mindset for the group. I could probably write another entire book on how to produce a play, but hopefully these few pages will give you a good jumping off point to learning the big play by doing. I'll start with the most important thing to producing a play:

Big budget sets, state-of-the-art technical resources, and scripts worthy of a Tony award will are not enough to put on a play. The most important thing to do is sell the kids on the play. It simply won't happen unless they take ownership.

This is especially critical if your group has only done short skits up until this point. The differences between short skits and a play are much bigger than you realize. There are more lines to learn and more actions to block. There is more down time for actors and actresses in between scenes, requiring much more patience on the part of the participants. The actors will necessarily need to put in more time out of rehearsal working on lines and characters. Unless the kids are "sold" on the play, you will never get this level of patience, effort, and commitment out of them.

The kids need to know what is expected of them. They need to see the vision of the play, the final product you hope to produce. They need to be shown that this final product is worth their investment of time and work.

How do you sell the kids? First of all, they have to believe in the script. Get their input when you are selecting the script. They are much more likely to accept the challenge of the big play if they are able to help select the play.

Second, get them involved in every aspect of the play. Let the kids assist in planning rehearsals, designing the sets, designing their costumes, and designing the sound and lighting cues. Ask them what can be done to make the play more successful, and then ask them what they are willing to do to make it happen.

The first play will be the roughest. It will be a learning experience for you and for the kids. But when the second time comes around, it will be much easier. Having lived through the successes and failures of plays in the past, the kids will have a better idea what to expect, and will be better prepared for the sacrifice and hard work it takes to put together a play. As new kids enter the group, the veterans will be able to impart their experience to the rookies. The more experience the kids gain, the more success your plays will have.

Division of responsibility is the second key to tackling a big play. Whether the kids or other adults take charge of technical aspects of the play is up to you. It should actually depend on the level of skill that the kids bring to the play. If the kids have the knowledge and know how, let them use it. If not, find adults that can teach these skills to the kids so that down the road, the kids can take full ownership of the technical side of theater.

Sit down with your production crew and generate an overall vision for the play. The production crew may include any of the following:

Technical Director (TD)- The person responsible for calling all the technical shots during the play. Once the director has finished blocking and directing the action, the TD takes over and actually runs the show.

Music Director- Responsible for teaching and directing the group in learning musical numbers.

Sound- Runs the sound board: microphones, sound effects, etc.

Set Design- Designs and leads construction of the set.

Lights- Designs and runs the lights for the play.

Costume Designer- Plans the costumes for the play.

Make-up Designer- Plans make-up and make-up effects, if needed.

Student Directors- Students who assist in running rehearsals. When the director is not running rehearsals, Student Directors have full authority to run rehearsals.

With this production crew you will decide what kind of set to build, when and how to build it, what the over all look and feel of the play will be, what sound effects are needed, how the action is to be played. This is where you cast the dream that you will sell to the kids.

Once the vision is cast, the job of putting the play together is divided up. The sound tech gathers are the necessary sound equipment. The costumer makes and purchases all needed elements for the costumes. The director is responsible for the actors' performances. Try to manage it all yourself, and you'll quickly find yourself overwhelmed.

I must point out that a big play does not necessitate a large set, lights, make-up, costumes, etc. But if you're going to go to the effort to produce a longer drama, and the budget and script lend themselves to an elaborate set, go for it.

Just like the cryptic words of Mr. Henslowe, obstacles will come. Kids will miss rehearsals or drop out. The set won't be ready on time. The microphones won't have batteries. The light board will short out.

I can almost guarantee you'll end up ten minutes from curtain, gnawing on your knuckles, wondering if the whole thing is going to go down in flames. But keep the faith, dear friend. Remember what I said earlier in the book: Don't Panic. Keep your focus on Christ, let his mysterious ways work everything out. I guarantee, everything will be fine. How do I know? I can't say how. "It's a mystery." And it's one of the things that keeps you coming back for more: the thrill of flying by the seat of your pants, living one heart beat away from self-destruction. It's the rush that you only get in the theater. The bug that bites and never lets go.

Play Scripts

If you're looking for play scripts, I have a number of one-acts available in the Righteous Insanity drama catalog. 

Back to Drama Ministry for the Dramatically Challenged