I'm not sure what you as a director expect or demand from these kids but as with almost anything in life if you demand or expect nothing you get nothing.   Learning lines should be like breathing air.   It's basic and vital.    Are there more immediate consequences to these kids for NOT learning their lines other than not being cast in the next few shows?

 

It's probably a good thing that I don't direct children.   My expectations would be much as they are for the adults that I direct.   I also suspect that the parents abrogate thier responsibility and expect you to be the parent in their absense.  Were I in your place I guarantee that more than once I'd be hauling parent and child into the "director's office" for a little chat, "I'm sorry Ms Smith but if little Johnny doesn't learn his lines by Sunday he's out of the show."   Simple, uncomplicated goals & expectations and consequences for not achieving them whether you're 5 or 75, neophyte or seasoned professional.

 

 

Also, I try to find out if they are visual or aural learners as it makes a difference how they learn lines.  People at the extreme of these 2 styles simply can't learn them using the way that doesn't work for them.  Constant reassurance that they CAN do it often helps, too.

 

I have them come early or stay late to go over what they don't know (with proper supervision, of course).  Showing them that I know it is challenging but that I am sure they can do it often solves the problem (or at least gets them up to the level of capable).  I try to work through this process as soon as I see memorization is going to be a problem rather than the night before opening, but I've had to do it during production week a time or two.

 

Since we only do a couple of performances, I've sometimes asked mildly if they are going to wait until "next week" to learn the lines. (After the show has closed.) I don't use much sarcasm, but a little jolt can get some actors moving.

 

I realize that the concept that "it all comes together" no matter the problems during production is reassuring to some.   It's the old "bad rehearsal, good performance" idea.  My philosopy is a that a good rehearsal (or a bunch of them) makes for a great performance.  That said, a really terrible rehearsal scares some kids into really digging deep and improving.  Fear (of looking foolish in front of their friends) is a great motivator.

 

If this show is a fiasco (in your eyes), use the experience as a tool to make future ones better. Figure out what was wrong with the process and try something different next time.  A Broadway producer once said that he liked a challenge.  If there wasn't the chance that he would fail miserably, he wouldn't take on a project.  Anyone who tries to put on a show with kids is certainly risking failure, but the audiences for such shows are very forgiving.  I always ask my actors/tech to "do their best."  If they will give me that much, I am pleased with the results.

 

I'd have "fired" them instantly for that remark.  I'd rather have someone go on book in hand as a replacement than put up with that kind of disrespect and inconsideration.

 

Sorry for not taking the "nurturing" approach that's been somewhat suggested elsewhere in these posts but sometimes you have to call out the bad behavior, draw the line in the sand and simply remove and make an example of those that are unwilling or unable to do what's expected of them.

Though last Friday i almost did!

For our production of the 'BIG IDEA' by Nigel Holloway [Lazy Bee].

We received the keys & swipe card to our newly refurbished venue, from the the city Council.

After trying for two hours to shut down the Security alarm to the building & finally having to call the Security Company, it took them a further hour & half to front up - they are really on the ball?

We were a wee bit crapped off to say the least. At first they were not going to turn out, as the building was supposedly not occupied yet! I couldn't quite grasp their thinking on this one?

Luckily one of our cast is a City Councillor & she ripped into them on the phone. Anyhow the guard knocked on the door & said "what's the problem"?

After the barrage of comments pointing out the obvious to him, he said "Oh it's the Alarm!", I'm not sure if he was being sarcastic or just hard of hearing?

So he tapped in his code in to the Alarm monitor console [which we made note of] & the alarm stopped.

I asked him to to go thru the exercise of arming it again & then showing us the procedure of disarming the alarm. to this he said 'that's a waste of time, as the alarm might not shut down again"! I was rather bemused by this? Then I had to calm down the Councillor from reading the guard the 'riot Act'.

Anyhow he reluctantly went thru the procedure & we thanked him, as he left the building shaking his head.

Then we saw the venue for the first time!

Only to find it was a naked chook pen, it was empty of any theatre infra structure. No retractable seating or even chairs. No lighting bars or lighting patch circuits installed, in fact sweet fanny Adams.

So this is what one gets for $ 4 million these days?

Not to be undaunted completely, i said as we have a week before dress rehearsal, we can cobble together enough gear to make it work. Then some of the cast started doing their blocks 7 doing the 'Gloria Swanson' bit.

My old blood pressure started to rise, along with the shakes & generally becoming more wobbly than usual. So I went outside to have a smoke &calm down. Then I noticed a couple drive off, i found out when I came inside, they had pulled the pin on the show & had gone home.

Anyhow as I was suffering on the verge of my 6th stoke, I though it best to follow suit & send every body home.

However after another smoke a cuppa & a lay down at home, I rang around calling in old favours from other fellow techies in pro & ameatre.

 

At this stage it looks good for the Sunday dress rehearsal with lighting, audio & sets.

Unfortunately a few emails went around the cast suggesting & stating it had been cancelled.

So it took till Monday to get them all on board again to a rehearsal. The majority of the cast have never been on stage before & have little idea of the trials & tribulations of Comeatre in general.

During last nights rehearsal the acoustics in the venue are bleeding awful, there is at least a one heart beat echo through out the auditorium. So I asked them to perform a scene on the apron with the House Rag in. This cut down the echoing by about 90%. So we need to to put in a Smother curtain up stage & another one on the back wall of the auditorium. To cut it out almost completely.

However as it would be difficult to borrow these at this late stage, I put it back on the Council to hire in the the gear, at their cost - which they agreed too. So things are looking good for the Dress Rehearsal & Opening night on Tuesday the 5th.

I have no idea how if we will have an audience or not as yet. So I may have to resort to a Gold coin [$1 & $2] admission fee. With a heap of donation boxes in the foyer!

I may even try the old pay what you can or accept non perishable goods to the ticket value & raffle the goods off, at the interval - which I have done before & we always seem to raise more than we would selling tickets.

but I'll see how it goes!

One thing I leaned in a previous life, which I gleaned from old Maurice Micklewhite [Micheal Caine]. Was to "USE THE DIFFICULTIES"!