Spotlight! E-news from Theatrefolk

Issue 27 - The Issue Play

Welcome!

Issue plays are popular and important. They can bring an issue to life and allow an audience to directly connect to that issue. Having said that, they are not the easiest plays to produce.

For this newsletter I talk to teachers and students who have directed my play The Bright Blue Mailbox Suicide Note. Read about their experiences and their advice. There's also an introduction to Augusto Boal and the Theatre of the Oppressed, an interactive issue based theatre form.

Disclaimer: None of us are psychiatrists or psychologists. We react to the issue in a purely theatrical manner.

In This Issue

• VIDEOS
  Theatrefolk publishers record their adventures.
• INTRO
  An introduction to the newsletter.
• DIRECTING THE ISSUE PLAY
  Directors talk about The Bright Blue Mailbox Suicide Note.
• WRITING THE ISSUE PLAY
  What are the responsibilities of the writer?
• ACTING THE ISSUE PLAY
  Downplay dramatic-downness.
• DOWNLOADS
  Two pages of rehearsal exercises.
• THEATRE OF THE OPRESSED
  An introduction to Augusto Boal.
• SHOUT BLOG
  Lindsay and Kristin talk about the song Friend.
• RINGTONES
  Get your favourite literary quote on your phone!
• MRS. MERRITT'S BIG BOOK OF HOLIDAY SKITS
  Holiday plays for the whole calendar.
• CONFERENCE ALERT
  Meet us in person.
• IN THE NEXT ISSUE
  What you can expect next.
• FACEBOOK/MYSPACE
  More places to reach Theatrefolk.
• STAY IN TOUCH
  Contact Info/Read Our Blog.

Video

Keep up with the comings and goings of Theatrefolk on our blog. There's a new video from the Texas Educational Theatre Association conference at the end of January. Check out our latest.

Intro

The issue play is integral to the genre of youth theatre. It provides a way to explore and hopefully prompt discussion of important teen issues. Many students and teachers purposefully shy away from the issue play: it's too much of a downer, it's too easy to get caught up in the issue, the plays are preachy, the issue is too controversial.

Over the fall I co-incidentally had a number of conversations with both adult and student directors of The Bright Blue Mailbox Suicide Note. I knew instantly that this would make an interesting newsletter topic.

Bright Blue is one of my oldest plays. I'm quite proud of it and the way it deals with the issue of suicide. The main character finds a suicide note by chance. He and his group of friends analyze, criticize and joke about it and its mystery owner. The situation becomes much less funny when one of the group reveals he tried to kill himself a year prior, and didn't tell anyone.

I'm especially proud that the play appeals to both teachers and students. This year alone it's had three student-directed productions.

But it hasn't always been well received. During one of the early productions of the play a teacher told me how the parents of the cast tried to stop the play. They said the play was making their kids depressed. The students stood up for themselves in quite a remarkable way. They said the play wasn't making them depressed, it was allowing them to talk about depression.

I've heard many approaches and reactions to the play from the school that had to stop the play because the issue was too close to home with a suicide the previous year, to the student who purposefully sought out the play for the same reason. From the teacher who believed that the play should be done straight without too much depth into the issue, to the teacher who spent hours of rehearsal time making sure students were comfortable with the issue.

Why are issue plays important? How do you work on issue play without being caught up in the issue? How do you prevent the issue overwhelming the drama?

Directing an Issue Play

Directors of 'The Bright Blue Mailbox Suicide Note' share their experiences.

Jonnette, Port Orange, Florida

The show was a HUGE success - BUT we were so well supported with a week of awareness information, guest speakers, guidance counsellors and other services that all spoke to the topics of suicide, bullying, and prevention/intervention. The students themselves have a lot of feelings about the show, its process, how they dealt with the material.

One of their major responses to this semester's final exam question (What is the most important thing you have learned in theatre this semester and why?) was ensemble work and the building of family within our theatre community. And the student audience that attended the performances all had very positive responses to the production and its message.

Through the production Jonnette focused on two elements: issue awareness and creating an environment to emotionally protect the actors. The two work hand in hand. This way students can openly talk about the issue and have a safety net for their personal feelings. Right off the bat Jonnette encouraged the parents to read the play and discuss it with their child.

The first thing we did is send home permission slips urging parents to read the piece and to give consent for their child to be involved with the material:

Project Description: This production, at the request of SGA and Mr. Pagano, focuses on suicide awareness and will be presented on October 23rd and 25th during school hours for the student body. PLEASE read the script and discuss the project with your young person. The material is sensitive and mature, and perfect for our CAPA students introduction to theater here at Atlantic!

I like that Jonnette involved the parents right away. This way they are aware of the subject matter from the beginning.

The rehearsal process involved a lot of exercises to encourage a high level of comfort between the actors. This plays an important part in creating a safe place for teen actors emotionally. The exercises started as actor focused and then moved on to be character focused.

We played physical games (if you know Gai Jones of California, many came from her) where the kids simply PLAYED as an ensemble and had to work together to solve the puzzle or make the game work. We took two hours or so to process in groups WHERE this took place, what a typical day was like, who knew who, who was related to whom, etc. This was done through a series of group theatre problem solving exercises: we start with tableau work, and then bring the tableaux to life to explore the character's beings in other places/situations.

We did LOTS of affirmations. Here are a few examples:

• Circle Compliment: You stand in a circle, and give the person beside you a compliment. That person moves on to the next and gives them a compliment, or thanks them for something.
• Secret letters: Actors write letters to each other, thanking each other for something, or sharing something or whatever.
• Visualizations (Characters): Here we put on on physical masks of characters, taking characters to joyous places. Exploring the characters outside the world of the play.
• Visualizations (Actors): At the end of play rehearsal, especially when the play was up and on its feet, we would think happy thoughts: birthdays! Puppies! Presents! Ice cream!

Amber, Missouri

Amber has just started working on the play. Her production will be in the spring.

Why did you choose this play?

I selected this play because last year two girls at my high school committed suicide, one girls death was ignored while the others was counted as a tragic loss, I felt that this play really touched on that, and really shows that everyone's suicide is tragic.

Because of the situation at your school, do you worry about your cast working with this issue?

I have had to hire a replacement for the role of Moe already. The person I originally cast was a close friend of one of the girls, and the day of the auditions his brother attempted suicide. He thought he would be able to continue the show, however he soon saw how much the subject matter disturbed him and he withdrew from the show.

Do you have any rehearsal time devoted to talking about suicide? Any specific acting exercises?

We have only talked about it once, when I told them exactly why I chose this show. Most of the cast had to go through counselling last year because they were close to one of the victims, so we generally focus on portraying the meaning to others rather than to ourselves.

What advice do you have for other directors?

My advice for anyone directing an issue play is don't become to involved with the show as you might others, be sure to surround yourself with friends and loved ones, and also to look after your cast if they show signs of depression urge them to seek help if it persist. You may want to consider casting someone new who wasn't close to any suicide victims. Also promote ant anti-suicide affiliation that you school may have it works wonders with understanding characters, and for generating a possible audience.

Alvin, Toronto, Ontario

The Bright Blue Mailbox Suicide Note was the first play I have ever directed. Working on a play dealing with a heavy issue on teen suicide was a challenge because our drama team had a strong outlook on humour. With 8 comedic students, student-directed with no adult supervision, I knew that it was a risk that I wanted to take to prove the versatility of our talents. Moreover, picking this play was a tough decision to make because of the implications and effects it would imply on the cast.

I wanted to direct this play because I had comparable experiences with Jake's internal conflicts in the play. The cast and I never really had a discussion about teen suicide that is mainly because we did not want to connect our personal experiences with our jobs as actors. Moreover, we did not want to make anyone uncomfortable.

I had doubts casting Ken because of his comments about how he did not have enough lines and credit. I then personally talked to him about how important Ken's role in the play and toward the audience. During the first weeks of rehearsal, I had a hard time getting the focus and attention of Dennis, Ken, Beebee, Lisa and Karen in my cast. They seemed like they were 'having too much fun' rehearsing.

It's not just a script; it's not just a play: it's the message, the relationships. But there was no time for regrets and sympathies, with a little time left; my cast was able to get inspiration and motivation to succeed, making them leads of their character's story, particularly Ken. The audience gave us an unexpected standing ovation, heart-filling applause and congratulatory comments for a job well-done.

It took trusting each other, inspiration, intention, and pure honesty for a play like The Bright Blue Mailbox Suicide Note to make a strong internal impact on both the cast and the audience.

Troy and Mary, Barrie, Ontario

Why did you choose the play?

Troy: I was looking for something with a cast size that wasn't too small or too big. I also wanted to do something worthwhile so I was looking for something that talked about an important social issue.

Why are issue plays important?

Troy: They are important because the best thing for social issues is awareness and by bringing them out for people to question and relate to is really important.

What was the initial reaction of the cast? Excited? Wary?

Mary: From the get-go we had a really energetic and supportive cast. They loved the cause, script and like Troy said were excited to take part.

Troy: I remember people coming up to me and saying things like, "Troy I love the script thank you for letting me be a part of it." They were really excited to be apart of it and at that point the whole social issue part was irrelevant.

Did you ever feel your cast was overwhelmed by the issue at any point in the rehearsal process?

Troy: It was really weird because I know for a fact that a few people had been deeply affected by suicide but they seemed fine and never showed signs of distress from anything part of it. I paid special attention to one of the cast members whose dad committed suicide when she was really young. I was surprised that she shared that with me in the first place but she never brought it up again. I think maybe the play made her feel more comfortable about talking about it because I overheard her talking to another one of the cast members about it also and she seemed to have no trouble with it.

Mary: I feel that they didn't keep their personal feelings out of the play, however this turned out to be great asset. Instead they used their experience they had with the issue of suicide, and tied it in with their characters. The confusions the issue brings, and even the frustrations each character feels, were made that much more real by their own experience.

Did you have cast discussions about their feelings on suicide?

Troy: I did talk to one of the teacher advisers about doing something like that and she made a good point. It might make people feel too uncomfortable and maybe even like they are obligated to share when they might not want to. She said it would be better if we did not do it. I was even planning on talking about how it affected me first to make them feel comfortable but it probably wouldn't have been a good idea. I think they were okay and didn't need it anyways.

Did you do any issue orientated acting exercises?

Troy: We never thought of that but what we did was do hilarious acting exercises to lighten the mood. There had been a conflict between a few girls in the cast and to ease the mood we played fun acting exercises such as going through a scene normally while Mary and I tried our hardest to distract them and make them laugh. I think that in doing that we definitely eased tension which could be also be used if a cast is having a hard time with any other problem.

Mary: In addition to Troy and I's 'distraction game', I also led the cast in a few improv games, to improve their comfort level on stage. In the first living room scene, where Jake brings the note to his friends, I would change what the note said several times, and the cast had to continue the scene around what the new letter said. While most 'changes' to the letter were for comical purposes, there were a few times were I had the letter reveal something serious. This exercise ran a few times in one sitting, and each time the letter changed, the cast had to make the mood had to change.

Was there any administration concern about doing a play about suicide?

Troy: I actually didn't even think of it until my principal and I were talking about doing the play and she brought up that fact that some people might take the play the wrong way. She told me that kids often come into the guidance office and talk to a counsellor about suicide and I had no idea. It was a dark and hidden secret. That's when I realized how bad that is, because I'm sure those people do not know either and they probably feel even more like outsiders. This motivated me even more to shed some light on this dark issue. So my principal and I discussed it and she agreed that it would be good to do it but she just needed to read the script to make sure. She read it and told us to go ahead with it.

What was the audience reaction to the play?

Troy: People loved it! People kept coming up to me and telling me all about how great it was. No one said anything bad about how there was a social issue involved.

Mary: My goodness the feedback was just sensational! I still don't think the compliments have stopped coming in since we did the play. From hearing praise on the acting, directing and of course the script, to the overall topic/theme, there was no aspect of this play that was left unnoticed. People were just really impressed that this was a student-run project, and turned out the way it did.

I'm really proud to have taken part in this project. Everyone worked incredibly hard, and I must admit there were some tough rehearsals. A few representatives from a suicide help group came to see the play, then came up to us after and told us how much they loved it. That to me was the best compliment, and was the moment that put this experience into perspective for me. Thank you Lindsay for letting us be a part of this moving, yet informative play. It touched a lot of people, and we all won't forget this experience for a long time.

Writing the Issue Play

I have two very distinct issue play memories. I remember sitting in North Bay watching an AIDS play. And the characters on stage were shouting, wailing, keening, crying. I remember thinking; is it really necessary to shout at me to make me care about AIDS? I can't tell you anything else about the play, all I remember is the shouting.

My second memory is directing an AIDS play (a much different play!) and going into a rather tough school with it. The cast was visibly nervous but determined. There were stories about what the students in this school have done to other touring shows. I remember sitting in the wings and hearing the first sincere laugh from the audience. They were hooked from beginning to end. I remember the sound of that audience eighteen years later.

The issue play is an important part of my writing. It's important to the audience I'm writing for. I fully believe that the theatre is an ideal way to explore an issue: you can show consequences and solutions, promote discussion, give the issue flesh and bone. You can make an audience connect to an issue in a way that no lecture or pamphlet can ever accomplish.

Issue plays are a tricky creature to put up. By their nature, the subject of issue plays are heavy and dramatic. It's easy to descent to shouting, wailing, keening and crying. It's just as easy to make an audience shut off.

One of the most common criticisms I have from seeing productions of my issue plays is that actors go out of their way to make sad issues even sadder. They think that they have to act dramatic and down. The key to the issue play is to fight that dramatic-downness with every fibre of your being. Sad plays are already sad. Acting sad is overkill. I always try to include humour with my issue to circumvent the dramatic-downness. Humour is allowed in a tragic story, in my mind it's a requirement.

There's a lot of responsibility in writing issues. You cannot promote one particular view. You must show all sides. You cannot decide how the audience should think. This is especially important when writing about teen issues.

There are many who would disagree. My observations of the youth world are that adults have a need to keep teens in a bubble. If they don't know anything about sex, for example, they surely they won't do it. A rather ridiculous argument, but time and time again teachers tell me about how their administrators vehemently deny any sexual activity (or drug activity or criminal activity) in their districts...

You also must keep your personal feelings out of the issue play. When I was writing The Pregnancy Project I wanted to throw myself in front of the characters and cry out, "Don't do it! You're too young! You really are! Abstain! Abstain!" You can't do that. It is the writer's job to showcase the whole issue from all sides and let the audience decide.

But, you might be saying, how do the plays end if characters don't pick a side? They have to pick a side don't they?

The most effective choice a character can make in an issue play is responsibility. Not a black and white stance on a certain side. Life is not black and white and plays that pursue a black/white ending will come across as false. At the end of The Pregnancy Project, the pregnant girl does not reveal what she's going to do (keep the baby or have an abortion). What she reveals is that she's ready to stand up, make a decision, to move forward, to act.

It's also all right for characters to fail in an issue play. I'm in the middle of writing a drug play and the main character is not going to be all right. He's not going to make the right choice and turn his back on drugs. Part of the experience for the audience is the discussion that should (must!) happen after they've seen the play. What do they feel about the choices the characters make? Do they agree, disagree? What would they do in the same situation?

It has been said that theatre does not have an effect on society. That theatre does not change society. I strongly believe that the issue play can affect an audience. It can promote change. I will always find time to write them.

Acting the Issue Play

A list of ways to avoid dramatic down-ness in your acting.

• Be wary of the number of times your character is involved with extreme emotion. In a one-act play characters should only cry once. Shout at each other once. Hit once. Scream once. If you abuse the extreme emotion it no longer becomes effective. The more you shout, the less the audience will listen. All they will hear is the noise, and not the content.
• Fight the urge to 'act' sad. Sad plays are already sad. The text is sad. Use all forms of emotion to react to the issue. Anger can be quiet, sad people do laugh, and so on. That is what will make the moment alive instead of stereotypical.
• Always remember the audience. The issue play can sometimes turn into an insular experience for the cast if they get too involved with what they're doing. Always keep in mind that your job is to keep the audience on the edge of their seats. That has to be done in a variety of ways. Variety is the key. It's always more effective to make an audience laugh right before you hit them in the gut with something dramatic. Silence works in tandem with shouting. Always have a moment of stillness after a moment of chaos.
• Take the most dramatic moment and rehearse it with the opposite emotion. If there are two characters screaming at each other, turn the moment on its ear and have the characters laugh at each other. First off all it will give you a fresh perspective in the scene. You'll find new rhythms in the pace of the dialogue. It's a great way to create a break between the character going through the issue, and the actor. On that note...
• Remember that it is the characters who are in the issue, not the actors. Every time you rehearse a tense, emotional moment, create a clean break. Play a silly improv game at the end of rehearsals. Sing. Do yoga. Play duck duck goose. Create a ritual to bring yourself out of character.
• Have an outside eye watch the show. If you and your cast are knee-deep in your issue, you may not think the show is straying into the over dramatic. A fresh eye (that you trust!) can let you know if the show is on the right track.

Downloads

Click below for cast exercises to use at the beginning and end of rehearsal.

• Before Rehearsal
  It's important to strengthen the bond between actors at the beginning of rehearsal. Actors who work as a cohesive group will be able to rely on each other.
• After Rehearsal
  At the end of rehearsal it's important to leave 'issue residue' behind and not carry it over into real life.

Theatre of the Oppressed

While some people make theatre, we all are theatre.
Augusto Boal

In doing research for this newsletter, I came across Augusto Boal and the Theatre of the Oppressed. The Theatre of the Oppressed is something that was on my radar, but there's much more to the methodology. It is wonderfully appropriate to talk about the Theatre of the Oppressed when discussing the issue play.

It's important to note this is merely a toe in the water. I've included a number of resources at the end for further exploration.

The word Oppressed is used in the sense of s/he who has lost the right to express his/her wills and needs, and is reduced to the condition of obedient listener of a monologue. It must be used as a tool of fighting against all forms class oppression, racism, sexism, and all kinds of discrimination.
Augusto Boal, Rio De Janeiro 2004 www.theatreoftheoppressed.org

'Theatre of the Oppressed' was developed in Brazil by Augusto Boal and his system is now used all over the world. One of the most prominent companies using Boal's techinques is the Cardboard Citizens, a professional theatre company made up of homeless individuals.

Boal created a method for theatricalizing issues. It is often used in theatre companies, but was developed for individuals suffering from daily oppression: political, social or otherwise. Boal started by working with the poor, encouraging them to fight class oppression.

The method is very much a process over product philosophy: the idea is to make theatre interactive and to form a dialogue between the audience and actor. When dealing with issues, (political, social or otherwise) dialogue is a necessary component. Boal focuses on community problem solving, encouraging dialogue and participation. In this way solutions to issues are found by a group and not by one singular voice. In this way, theatre can be used as method of change and transformation.

Theatre is a form of knowledge: it should and can also be a means of transforming society. Theatre can help us build our future, rather than just waiting for it.
Augusto Boal

Boal uses a lot of game play. The games are very specific and act as warm up to more structured technique. They're certainly fun but they all have a purpose from themes such as exploring power/powerlessness, challenging the senses and work toward creating the necessary community feel within the participants.

Status partner: In pairs create a tableau where one partner has a higher status than the other. The other participants have to guess who has the higher status and why.

Two techniques used within the Theatre of the Oppressed are Image Theatre and Forum Theatre.

Image Theatre

In this technique the body is used to create images. Participants use the body to express ideas rather than the voice.

Example: Moving from a negative to a postive image.

• The group is asked to create a tableau of a conflict. Create a physical picture of the oppresson.
• The group is asked to create an ideal situation. Create a positive physical picture.
• Lastly the group must create transitional tableaux. Explore how to transition between the negative to the positive image.

Forum Theatre

Forum Theatre is an excellent example of community problem solving. Within a group a short play is performed in which the protagonist faces a daily conflict he cannot solve. When the play is over, a discussion is held with the audience, facilitated by 'the Joker.' The Joker is called such because he is the one member of a card deck without an allegiance to a suit - ie: they are neutral. It's not the Joker's job to push the audience toward THE answer; the aim is to create many possible answers

After the discussion, the play is presented again. This time however, members of the audience can yell 'stop' and halt the action. The audience member (audience members are called spect-actors in Boal's method) takes the place of the main character and offers a new solution to the situation.

For more information on the 'Theatre of the Oppressed'

Websites

• Theatre of the Oppressed Official Website
• Intro to Theatre of the Oppressed and Boal
• Wikipedia entry on Forum Theatre and Augusto Boal
• Cardboard Citizens
• Index of Exercises

Books

• Theatre of the Oppressed
• Games for Actors and Non Actors

Shout Blog

This month we're going to talk about the song 'Friend.'

But first, I'm very excited to announce that the one act version of SHOUT has advanced to the Florida State Thespian festival!

As an experiment, I cut the full length down to 35 minutes specifically for Lakewood Ranch High School and their district competition, thinking I probably wouldn't keep it. But I like it so much we're going to publish it as well! It will be a nice addition to have a one act competition version.

Lindsay - Lyrics

The original lyrics for 'Friend' are something that I've been kicking around for years.

Well I'd rather be an angel
But I guess the jobs are taken
Thought if I had wings
Maybe I could stop your aching

I've always wanted to use them somewhere and on paper SHOUT seemed to be the right place. It looks at the nature of friendship, who your true friends are and where you can find them.

Unfortunately when I heard them as a song my initial reaction was 'meh.' I think it's essential to love every song in your musical. Love them all, sing them all, want to sing them all day.

Kristin is so great to work with because while she's not precious about the music, she stands up for and fights for what she believes in (she has been championing 'Fine' as the best song in the musical since the beginning and she's dead on). We both agreed that chorus in 'Friend' was worth saving.

There's a light, there's a hand.
Hope when no one understands.
There's a way, and a guide,
When you're tired and you've tried
You can always find your way back home.

At this point in the process we realized that there was no 'through line' melody in SHOUT. Something that comes up again and again, something that weaves in and out of the story. 'Friend' became that through line.

I love the way Kristin explores the 'Friend' through line below, so I'm going to pass this over to her.

And as a final note, the final version of 'Friend' that Kristin talks about made me cry. A crappy little midi version, not even a live version, and I had tears running down my face. That, my friends, is the power of song.

Kristin - Music

'Friend' has gone through a long evolution, and a number of versions, before arriving at what it is today.

In the first version of SHOUT, 'Friend' was a small part of a much larger, longer song sung by Essa with the company, but it didn't really work in the show. So we cut it. It was hard, but we cut it.

Now, we liked the song; we liked what it represented, not only in the Essa/Ariane/Kate story but for the other stories as well. We wanted to keep it in some form. So we took the chorus of the original song and wove it through the show.

The production by Lakewood Ranch High School in Florida was my first opportunity to see and hear the music in context. The students did an amazing job. But I felt a bit unsatisfied with the song. Something was missing.

You see, Essa is a memory, frozen in time. She cannot act and she cannot change. Her sister Ariane seems unable to move forward herself. Socially isolated and incomplete, she feels that she cannot trust those around her, and relies on the fragmented memory of her sister for support and guidance. Indeed, Essa is the closest, if not the only relationship she has. 'Friend' is a reflection of that state. It too, is incomplete. We hear it over and over, but it never moves beyond the simple, remembered melody.

Finally, when Ariane moves beyond her need for her sister and accepts the new relationships in her life, the song is allowed to end. And that was my problem with it: it ended. That's just what it shouldn't do. It needed not only to state itself, but to grow and move beyond what it was, and into something new. Like the characters.

So the final version of 'Friend' now does just that. The old melody is allowed to complete itself, and then a new melody soars over top of the old, transforming it and moving it forward, and leading the characters out of the past and into their lives.

Ringtones

Theatrefolk is going multi-media! Haven't you always wanted your favourite Shakespeare quote as your ringtone? Are you in a Theatrefolk play and want a quote to play when your fellow castmates call? Check out www.literaryringtones.com for more info!

Mrs. Merritt's Big Book of Holiday Skits

We're proud to be connected to this project. Especially for elementary schools, this book is bursting with plays, scenes, skits, sketches and poems for holidays throughout the year. See www.mrsmerritt.com for details.

Conference Alert

Here's our upcoming conference schedule. If you're attending, please drop by and say hi!

In the Next Issue

Writing the Monologue. A playwriting newsletter full of exercises.

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• Lindsay on MySpace
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