When it comes to school productions, simplified versions of West End and Broadway shows often guarantee full houses. But are these familiar favourites the best choice for teenage performers? Tom Kirkham, co-founder and publishing director of The School Musicals Company, thinks there may be better options.
A school production is a unique way to unite a school community: performers, musicians, technicians, stage crew, artists, prop-makers, costumiers, parents, teachers, the finance department and the PTA. By the time the long-rehearsed and much anticipated show takes to the stage, it's probably easier to count those not involved than those who are. And who wouldn't be excited by a production of Grease, Beauty and the Beast or The Addams Family? These beloved musicals feature timeless songs and iconic moments. They're tried and tested, providing opportunities for performers to showcase their talents, while picturing themselves on stage at the West End. But are they always the best choice?
While these musicals offer many benefits, there are drawbacks to consider. Even when abridged for younger performers, the songs in these shows are often simply too challenging for teenage voices. The melodies may be grand, but they can put too much strain on young singers, leading to frustration, and stress, and a less confident performance. And it's not just the songs. The lead roles in many of these shows are massive demanding memorisation of extensive lines, songs, choreography, blocking, costume changes, and more. While some will thrive under this pressure, it might be worth exploring alternatives designed with young performers in mind – shows with more balanced roles that allow more students to shine and don't force them to mimic, but to explore a character for themselves.
The key to a successful school musical starts with selecting the right show. A good show will offer a wide variety of parts, each fulfilling a specific role that drives the storyline. In many school productions, after an extensive audition process and much anticipation, most students find themselves disappointed. They understand that there can only be one Matilda, one Beauty or one Sandy. While learning to cope with rejection is important for any aspiring performer, shows that focus too much on lead roles often leave students in the ensemble, where they may only have a line or two or participate briefly in a few numbers.
While there's nothing wrong with the ensemble, this approach can lead to an ‘us versus them’ mentality during rehearsals, with lead performers receiving the lion's share of attention. Imagine if more lines were distributed, or if there were more named, meaningful roles. For many students, having a named part with a few lines can make all the difference. It fosters a sense of inclusion, boosts confidence, and creates a stronger commitment to rehearsals. It also enables those students who have learning profiles that would impact their ability to learn pages of lines, but who would like to be included and have their chance to shine.
Another consideration is the size of the show and the subsequent length – and complexity – of rehearsals. Shorter, more focused productions often lead to more efficient rehearsals, where the ensemble can home in on key songs and dances. Too often, a single song gets rehearsed once a week for months, and a lengthy dance break becomes overwhelming for the choreographer and performers. These factors can drain energy and focus, ultimately making the process less enjoyable for everyone involved.
The themes in some shows, originally written for adults, are also often far from students’ reality. It is pertinent to match the themes of the show with the experiences of the performers, to enable them to draw from their family situations, feelings and age-appropriate lived experience. Musicals that speak to teenagers, dealing with themes they can relate to, offer the chance to draw from personal experience and create a more authentic and fulfilling performance, rather than expecting students to perform roles and emotions they haven't experienced themselves and merely copy what they've seen before.
Theatre for young people should be an opportunity to bring together a community in the enjoyment of dramatic arts, much like a sports day does for those sporting children. A sports day where the same few children run every race or dominate every field event would never be considered. In asking our students to merely recreate a show rather than live, feel and experience one for themselves, and in limiting the meaningful opportunities to just a handful of children, can a production be classed as being truly successful, however strong the show?
theschoolmusicalscompany.com