Ah production week. those seven days leading into an opening performance. Or in the case of many  drama and music schools the only performance. Those days when you suddenly start receiving an substantial increase in phone calls, texts and emails from parents asking about costumes, times, locations, and explanations as to why there are suddenly extra rehearsals.

The information by the way, including the extra rehearsals, can always be located in the many communications sent out throughout the year. In my case most information is in the welcome pack at the beginning of the year.

But that's by the by. What I'd like to talk about is that question about the extra rehearsals.

Most years my junior classes have a number of new students. Most of these have either never performed on a stage before, only performed on little school hall stages, or performed in dance groups and choirs. The act of getting up on a bigger stage and having to speak is a whole different ball game. I've watched the most competent kids crumble the first time they are standing on a large stage with strangers looking at them.

That is why I run the extra rehearsals earlier in the week. To give them a chance to feel those overwhelming new feelings when the strangers are predominantly their peers, my senior volunteers and a handful of parents. It's in these rehearsals that I can walk out onto the stage and talk them down. I give them options that will keep them on the stage but take some of the 'big scary' away. Most of the time, by doing this, those kids are settled by the actual performance and walk onto the stage with a nervous excitement instead of utter dread.

I shudder at the thought of a drama school that would push young students to be perfect and professional. For me, it is the skills built in to what we do, including getting up and talking in front of a bunch of strangers, that are more important that a seamless show. I like my students to know that each performance they give is more practice in developing these skills and that what is most important isn't getting it right, it's feeling scared or nervous, but getting up on that stage and trying it anyway. Facing our fears. Developing resilience. Growing stronger.

I can't be on the stage with the kids, or doing it for them, but I can try to give them the tools to give it a bloody good try. And one those tools is called, Rehearsals.

Student:          I’m really glad I decided to try drama this year.

Me:                  I’m glad you did too. You’ve really found your voice and you have an effortless natural                           talent for improvisation. It’s enviable.
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Student:         I almost didn’t come. It was quite out of my comfort zone and I was also expecting                                 you to be a real flakey, hippy, air-head type. But you’re not. You’re really down to                                   earth.

Me:                  Aren’t I just a little bit weird?

Student:          <laughs> Yes, Danielle, you’re weird, but you are also down to earth and what you                                  have to  say makes a lot of sense.
                                                                Conversation with a senior student at the end of the academic year.


It’s amazing how often we let expectations stop us from experiencing new people, places, and knowledge building opportunities. Imagine how limited our lives would be if we allow these expectations to be our guides.

You expect you’ll not like a food because it looks or smells so different from what you normally eat? I would never have discovered that mushrooms are my favourite food if I’d gone with that philosophy. You expect travelling overseas by yourself might be lonely or even unsafe. No-one is willing to travel with you so you just don’t go. I would never have adventured all over the northern hemisphere in my twenties if I’d thought like that. Nor would I have met some amazing friends and learnt some extremely important life lessons. You expect you won’t get along with a person because they dress so differently, or like heavy music, or smile a lot, or not enough…  imagine the friends you’ve missed out on? The lessons their acquaintance may have offered up? Like the man I watched TV with in a tiny hostel in Venice Beach. Everyone else thought he was scary. I thought he was interesting and imposed myself on him and his mini black and white TV. Once he got over the grumps and realized I wasn’t going away he started chatting to me. He’d had a really interesting life and was actually a lovely man.

Expectations about narrative and character can also limit the actor.

If you expect a character should act a specific way in response to a situation, you will never give yourself the opportunity to explore possibilities. You will miss an opportunity to add colour and depth to a scene.
You will bore your audience because you have not challenged your knowledge, skills and performance, in turn, you have not challenged them.

I don’t know about you lot, but as an audience member I am sick of having every little detail over explained. Exposition in dialogue should be cut. It’s “show, don’t tell”, not “show and tell”. I like to be challenged when I see theatre or watch a film. I like to take part in the story-telling journey and bring my deductions together with the storytellers at the end of the play. It adds to the pleasure of the experience, makes me use my brain, my senses, my creative and critical thinking processes. It’s fun and, in theatre, makes me feel alive.

So, too, when I work with a character do I want to go on that journey. I take mental note of my first impressions of the story and the character. However I lend these impressions no more weight than any other conclusions born of my character development and analysis. An actor should never stay and live within the first analysis of their character. This analysis is often tainted by our uninformed expectations and should not be wholly trusted. They are merely the first step of many in an exciting journey to breathe life from a page.

When I am casting a play I will develop expectations of what I might be looking for in my actors. I will make note of what these are and then I will discard them. If I stuck to these expectations I am sure I would have missed out on the most interesting options each and every time. When I audition and actor I want to see what they might be able to bring to the story, what they might be able to teach me about their character and how it can add to the rich medium of storytelling in live theatre.

When I am writing for my students and their audience, more often than not their family, I begin with the most obvious ideas and the natural expectations attached to them. And then I “what if” the hell out of them. I think, as a teacher, firstly about my students and how these narratives and their characters might offer them ways to practice and develop the skills we’ve been working on. How I might challenge them vocally and physically, and take them slightly out of their comfort zone. I also think of our audience. How can I give these people something interesting to watch. How will it engage them and allow them to engage with their children in character.

It’s about acknowledging the expectations and then journeying well beyond them to experience the unknown. How exciting is that?
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So, if there is one thing I can urge people to do this year, it’s to challenge your expectations and choose to grow. You never know what you might find.

Below is the "welcome" I placed in our recent Secondary Drama Major Performance programme. I felt it was worth a share here as well.

                                                                          time and permission

Welcome family and friends to the major performance for XtrAct’s secondary students. We have two secondary classes comprising of students between the ages of 12 and 18 years of age. For some, this will be their first time onstage and for others, well, they have probably lost count.

Some of our students have had the opportunity to perform with local, Newcastle or Sydney theatre companies, which provides them with invaluable experience of the inner workings of the industry. However, the drama class provides these kids with something the theatre companies can ill afford: Time and permission.

Time to learn and practise the individual skills of acting, communication, team work, and focus. Time to find their voice and listen to the voices of others. The drama class takes time to foster interpersonal relations between kids from very different backgrounds and ages, and encourages positive, supportive and constructive relationships. There is time to explore our creativity and build confidence in sharing our creative thoughts and ideas with others.

None of this time would be any good to the children without permission. In a drama class we offer students permission to GET IT WRONG. It is a safe space for kids to try ideas and make mistakes without fear of judgement and ridicule. And in an age where anxiety and resilience are a core concern for educators, training kids to be okay about making a mistake is extremely important. It’s one of the reasons I love teaching drama.

I would like to welcome XtrAct founders Robyn Weidlich, Pollyanna Forshaw and Pam Campbell to our audience tonight. Your support for young people in theatre on the Coast is invaluable, and XtrAct stands as a great legacy to you all.

Thank you also to our XtrAct parents and guardians for supporting your child’s passion for performing. Getting them to class, organising costumes, helping the kids learn their lines, understanding how much the entire class relies on each member to play their part for the success of the performance, coming along to our performances… every little bit adds to the success of their time with XtrAct.
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So please, sit back and enjoy your children as they take their next step in learning about the craft of theatre.
Chookas, Danielle Brame Whiting

In every class I've taught, in every production I've worked on with kids and youth, there is always at least one performer who thinks they are above the rehearsal process. 

Perhaps they complain that they don't need to go back over scenes.

Perhaps they feel that all of the work you ask them to do to research and prepare their character is unnecessary.

Perhaps they've decided they have nothing to learn by watching cast rehearse a scene in which their character is not required. 

This type of actor will often be that one who is always talking or disruptive, mucking around and distracting. This type of actor generally puts ego before the character, scene and ensemble. This type of actor will never improve and will always be hindered by their belief that they are 'good enough'.

This type of actor is not an actor. 

An actor is an artist. An actor understands that the role, the audience and the ensemble are always bigger and more important than the self. An actor understands that our craft, or understandings, our training, our character research,  our talent... are never finished. Art is ever evolving. A piece of art that is considered finished, including an actor's preparation and performance in character, is a dead piece of art. 

At XtrAct I try to train my actors to understand that, if they are not required on stage for a scene, they should be working on character development, memorising lines, understanding how their characters fit within a scene and the world of the play, looking for those moments where they might be a peripheral character and how they can support the leads to make a scene successful, watching others rehearse to ensure they have an understanding of the world of the play, watching others rehearse to learn from their peers...

There are so many tasks that should be covered during a rehearsal. Each one involves the actor acknowledging they must continually train and evolve, and that everything should be done for the good of the ensemble and the audience. It is an invaluable experience. For the production crew, it can also separate the wheat from the chaff. Invaluable.

Everything ends. That's a part of life, right?

In theatre we face endings all the time. The end of the planning period , the end of rehearsals, and the end of the production run to name one set. 

What I want to address today is how we deal with those endings.

I thinks it's important to work with our kids on accepting endings as being both okay and natural. To celebrate the conclusion of an amazing journey rather than grieve that the journey is over. To look at the things we've learnt, the skills we've gained, the friends we've made, and appreciate it. Not devalue all other aspects of the experience by making the final part of your journey about sadness, your final thoughts and memories being grief, and often creating an uncomfortable experience for those around you (and maybe even ruining their final memories of the journey).

I like to tell cast members not to grieve, but rather be thankful for the amazing experiences and look towards the next fantastic adventure. I like to see an ending in theatre as the beginning of something new. And this time, you start something new with more knowledge and skills, and hopefully a greater sense of adventure.

Don't get me wrong, I don't think there is anything wrong with feeling a little sad that something you've enjoyed is now coming to a close. However, I feel that needs to be a momentary reflection where you acknowledge that the inevitable must now happen, and then move forward.  

I know it is easier as we get older to see what we may have missed out on had a journey not concluded, but I wish someone had taken the time to try and teach me this when I was younger. It's a skill useful beyond the realms of backstage. Accepting endings as a natural part of life allows us to become flexible and quick to adapt. instead of wasting time trying to 'come to terms' with the grief, we adapt in the moment, adjust expectations, and live in the present.

A friend once told me that we should all take responsibility for "everything" that happens to us. I was mortified in that moment and accused him of inadvertently victim blaming (although not those exact words as they were not in trend 15 years ago). He went on to explain that, for those things that others 'do 
to us' over which we have no control, our responsibility lays with how we choose to deal with it. How do we let it define us? Do we give up? Do we rise above? Do we learn? Do we ignore or pretend? How we deal with it is our choice. This definitely applies to endings. 

How do I define myself by my endings:

My life is a series of new beginnings. Each one feeding my mind, body or soul and contribute to this amazing journey. To each and every participant of my journey, thank you.

This a word in danger of being relegated to 'buzz word' and 'consultant speak', and yet it is oh so important. In recent years I've noticed many more conversations with teachers and parents that lead to discussing a need to teach our kids more resilience, or indeed the need to better develop it within ourselves.
The definition of resilience is 'the capacity to recover quickly from difficulties' (https://en.oxforddictionaries.com/definition/resilience). To recover 'quickly', not enter into a long and arduous journey of analysis or lamentation, but rather to be able to accept our 'difficulties' or mistakes or problems as an opportunity to learn and move forward. 
I've occasionally been misread as lacking empathy or being too hard in the past when I have put forward this idea of resilience. These accusations mainly coming from a brand of human I call the  "Yes, but" people. You know the ones. They're the individuals who will always counteract any suggestion with "Yes, but" followed by an untested reason they would never follow up on your suggestion. For example, 
A - "I really want to change careers"
B - 'Perhaps you can find a part-time or correspondence course in an area that interests you?'
A - "Yes, but I have to work so I won't have time."
B - 'I wonder if there is one that has flexibility to work in with your working life?'
A - "Yes, but I still want to be able to have a social life and that would really eat into my work/life balance."
B - 'I hear you. Maybe it might be worth a little less social life for a couple of years if it means finding something you really want to do?'
A - "Yes, but then I'll feel like I'm putting my life on hold."
... pretty much the point where B gives up. What I usually am feeling from the "Yes, buts" is a risk averse nature that is much stronger than their desire to chase better alternatives.
Let's face it, we can all come up with amazing excuses to avoid putting ourselves out there and possibly, gasp, failing. What I love about the drama classroom is that it has taught me, and in turn allows me to teach on, the art of embracing failures. The best acting teacher I ever had would continually gift me with the mantra, "Get it wrong." 
Through games and activities, drama students learn how to throw all of their ideas into the ring for testing.

Like scientists we create a hypothesis for our performance, follow a clear methodology depending on parameters set by the game, activity or teacher, and then, through performance, test it out. Sometimes a scene with the best of intentions falls flat on its face. At this point the teaching of resilience steps in. What the drama teacher does not want their student to do is beat themselves up and indulge in embarrassment. All that does is inhibit the actor within and close the student off to forming and sharing new ideas. Instead we encourage, through discussion, a quick SWOT analysis of the scene and then develop a new plan that takes the original idea in a different direction.

Like our sporting counterparts, a drama student must train for a successful performance. We analyse both the psychological and physical needs of our characters and work on developing mentally, vocally and physically to embody the characters world. It is not uncommon for me to work my classes into a sweat in the first section of our classes. It is not uncommon that I have to listen to my students whinging that they're tired, they've had a hard day at school, it's two degrees too hot, that they're really stressed (in other words, they are "Yes, but-ing" me without actually using the words. It's at this point in time we develop the life skill of 'Sucking it up'. So many times through life we are faced with situations where we don't feel physically or emotionally up for something, but still have to do it. Resilience.

Studying Drama is about learning resilience. Practising. Developing. Sometimes failing. Always getting back up.

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An interesting situation arose last week with a young actor suddenly pulling out of a show I'm stage managing. The part was ensemble, but also training up in elements of stage management. All had been fine until they suddenly weren't making rehearsal, nor alerting myself or the director to the fact. After a month of no shows I received a message, that was certainly sincerely apologetic, outlining reasons for being unable to continue. The crux of the matter is something I am seeing, or hearing about from other companies, a fair bit of at the moment. The actor had over committed  we were the show they decided to drop (most likely because it was a smaller role). 
It's an interesting thing working with younger actors. As a person who was once young herself, I believe kids need free time to spend just hanging out with friends or reading or shopping..., but as a teacher and a parent i also know the importance of teaching kids about honouring commitments, not over-committing, managing time, managing relationships etc. Skills that will be needed more and more as they get older.
My response to the actor was two-fold:
Make a phone call to the director explaining what has happened (NOT A TEXT OR I.M. OR P.M. OR ANY SUCH BRIEF TEXT-BASED IMPERSONAL COMMUNICATION WHICH ALLOWS ONE TO AVOID THOSE AWKWARD MOMENTS WE SOMETIMES HAVE TO FACE). The director had worked hard to create an ensemble role for this person as she believed in the actor's value (due to the actor advising up front that there was a large chunk of time where they would be unable to attend rehearsals close to production dates they could not be cast in a lead) . I explained that this personal explanation and apology was a mark of both character and respect, and would go a long way.
I then went on to explain that both amateur and professional companies run black lists of a sort. In Australia our industry is not huge and people talk to each other. If an actor has created a reputation in a show for being difficult or not turning up to rehearsals or suddenly pulling out of shows etc., it can effect their ability to get work.
​This actor had specific reasons for having to pull out of the show and did offer to help out backstage during the production, which I appreciated. However, I have known this young person for a long time, and know them to be a decent person, talented and hardworking. The thing is, not everyone on this production knows the actor that well yet, and they will talk. Not in a malicious way. It's just, people talk. As it stands, this actor has not yet called the director and it is impacting the desire of some people within the company to work with this person in the future.
​I certainly speak up for second chances, but that won't always be enough.

There is an underlying push against the arts in education at the moment. From all that I've read etc. regarding the most up to date research into effective teaching practices, as well as anecdotal evidence... I don't get it. 

Through drama: 
- I've watched shy children find their voice
- I've watched unfocused children hone their listening and attention skills
- I've watched 'all-about-me' people learn to empathise and work as a member of a team
- I've watched followers take the lead and leaders learn to follow
- I've watched corporate teams find a common ground and a way to communicate more effectively
- I've watched teams of both children and adults approach problem solving in constructive, creative and effective ways
- I've watched students engage their own personal interests with the subject at hand using skills in ICT, Numeracy, Literacy, Gross Motor, Interpersonal Communication...

DRAMA is the ultimate cross-curricular subject. 

Why, then, am I seeing and hearing dissent from a group of individuals who happen to be in positions of power and decision making? 

I don't get it.