Open Forum

So, this is my first full Shakespeare production and I want to do it right. I teach Shakespeare in different ways throughout my classes and we work on monologues, so I have comfort with the material, but want to again pick all of your awesome brains to figure out best practices.

1. Cut the script ourselves or use a precut script?  I want a 90 minute run. It seems most here ended up with something similar. Did you find it, cut it yourself, cut it with the cast?  What would you suggest doing? Why?
(Honestly, thinking about being the first time, time constraints, and not wanting to mess it up, I'm leaning towards using an existing version that is a proven winner, but am open to change that.)

2. If I go with a pre-cut version, do any of you have a great suggestion of one to use? I don't mind buying from a publisher or of course, "borrowing" one of your one-off cut copies.

3. Time and Place Setting - Many talk about the value and fun of moving the setting and time to make it more entertaining and relevant.  I absolutely see the value of that. Since it's my first time producing, I feel like I want to do it authentic to the script. Am I making a mistake? What are your thoughts on staying authentic versus moving time and place with this show?

4. Cast understanding and meaning - Do you guys have your cast translate their lines for understanding and/or do other analysis? Do you use something like a "No Fear" script with side translations? Many have talked about "table work" and finding understanding and meaning together. What do you find to be the most effective and rewarding process to achieve understand and meaning? 

I think that's all I have...for now. Thank you so much again for your willingness to read all of this and to hopefully share your knowledge with me (us). It is truly appreciated.

------------------------------
Brett Buffum
Theatre Teacher
Spring Hill KS
------------------------------

Brett, I'm directing Midsummer this spring. We're using the Lighthouse Plays version and performing it at a museum with a garden.

------------------------------
Taylor Horne
Upper School Theatre Director
Jacksonville FL
------------------------------

Original Message:
Sent: 01-04-2020 18:31
From: Brett Buffum
Subject: Midsummer It Is...Now What?

Thank you SO much to everyone who posted such great thoughts regarding Shakespeare show selection.  I was always aiming for Midsummer and now I know why :)

So, this is my first full Shakespeare production and I want to do it right. I teach Shakespeare in different ways throughout my classes and we work on monologues, so I have comfort with the material, but want to again pick all of your awesome brains to figure out best practices.

1. Cut the script ourselves or use a precut script?  I want a 90 minute run. It seems most here ended up with something similar. Did you find it, cut it yourself, cut it with the cast?  What would you suggest doing? Why?
(Honestly, thinking about being the first time, time constraints, and not wanting to mess it up, I'm leaning towards using an existing version that is a proven winner, but am open to change that.)

2. If I go with a pre-cut version, do any of you have a great suggestion of one to use? I don't mind buying from a publisher or of course, "borrowing" one of your one-off cut copies.

3. Time and Place Setting - Many talk about the value and fun of moving the setting and time to make it more entertaining and relevant.  I absolutely see the value of that. Since it's my first time producing, I feel like I want to do it authentic to the script. Am I making a mistake? What are your thoughts on staying authentic versus moving time and place with this show?

4. Cast understanding and meaning - Do you guys have your cast translate their lines for understanding and/or do other analysis? Do you use something like a "No Fear" script with side translations? Many have talked about "table work" and finding understanding and meaning together. What do you find to be the most effective and rewarding process to achieve understand and meaning?

I think that's all I have...for now. Thank you so much again for your willingness to read all of this and to hopefully share your knowledge with me (us). It is truly appreciated.

------------------------------
Brett Buffum
Theatre Teacher
Spring Hill KS
------------------------------

Hi Brett,

I've directed Midsummer three times--super fun and allows you to be so creative as a director.  I cut it myself and it ran about 90 minutes.  My favorite production was set in modern day Central Park.  Theseus was the mayor of NYC followed by Paparazzi.  Demetrius a frat boy, Lysander a musician, Hermia a spoiled Daddy's girl, Helena an earthy activist. The Mechanicals were Juilliard acting students. All the fairies were disguised as homeless people in the park but their costumes were funky and bright.  It was a HUGE hit.  The cast and I discussed the meaning of each section we were blocking at the start of rehearsal.  Let me know if you have any questions.

------------------------------
Laura Russo
Teacher/Director of Theatre Arts
School District of The Chathams
Chatham NJ
------------------------------

Original Message:
Sent: 01-04-2020 18:31
From: Brett Buffum
Subject: Midsummer It Is...Now What?

Thank you SO much to everyone who posted such great thoughts regarding Shakespeare show selection.  I was always aiming for Midsummer and now I know why :)

So, this is my first full Shakespeare production and I want to do it right. I teach Shakespeare in different ways throughout my classes and we work on monologues, so I have comfort with the material, but want to again pick all of your awesome brains to figure out best practices.

1. Cut the script ourselves or use a precut script?  I want a 90 minute run. It seems most here ended up with something similar. Did you find it, cut it yourself, cut it with the cast?  What would you suggest doing? Why?
(Honestly, thinking about being the first time, time constraints, and not wanting to mess it up, I'm leaning towards using an existing version that is a proven winner, but am open to change that.)

2. If I go with a pre-cut version, do any of you have a great suggestion of one to use? I don't mind buying from a publisher or of course, "borrowing" one of your one-off cut copies.

3. Time and Place Setting - Many talk about the value and fun of moving the setting and time to make it more entertaining and relevant.  I absolutely see the value of that. Since it's my first time producing, I feel like I want to do it authentic to the script. Am I making a mistake? What are your thoughts on staying authentic versus moving time and place with this show?

4. Cast understanding and meaning - Do you guys have your cast translate their lines for understanding and/or do other analysis? Do you use something like a "No Fear" script with side translations? Many have talked about "table work" and finding understanding and meaning together. What do you find to be the most effective and rewarding process to achieve understand and meaning?

I think that's all I have...for now. Thank you so much again for your willingness to read all of this and to hopefully share your knowledge with me (us). It is truly appreciated.

------------------------------
Brett Buffum
Theatre Teacher
Spring Hill KS
------------------------------

Did the full uncut version. Use the original setting with authentic costuming. Did table reading using proper scansion.

Audiences were enthralled!

Sent from my iPhone


Original Message------

Thank you SO much to everyone who posted such great thoughts regarding Shakespeare show selection.  I was always aiming for Midsummer and now I know why :)

So, this is my first full Shakespeare production and I want to do it right. I teach Shakespeare in different ways throughout my classes and we work on monologues, so I have comfort with the material, but want to again pick all of your awesome brains to figure out best practices.

1. Cut the script ourselves or use a precut script?  I want a 90 minute run. It seems most here ended up with something similar. Did you find it, cut it yourself, cut it with the cast?  What would you suggest doing? Why?
(Honestly, thinking about being the first time, time constraints, and not wanting to mess it up, I'm leaning towards using an existing version that is a proven winner, but am open to change that.)

2. If I go with a pre-cut version, do any of you have a great suggestion of one to use? I don't mind buying from a publisher or of course, "borrowing" one of your one-off cut copies.

3. Time and Place Setting - Many talk about the value and fun of moving the setting and time to make it more entertaining and relevant.  I absolutely see the value of that. Since it's my first time producing, I feel like I want to do it authentic to the script. Am I making a mistake? What are your thoughts on staying authentic versus moving time and place with this show?

4. Cast understanding and meaning - Do you guys have your cast translate their lines for understanding and/or do other analysis? Do you use something like a "No Fear" script with side translations? Many have talked about "table work" and finding understanding and meaning together. What do you find to be the most effective and rewarding process to achieve understand and meaning? 

I think that's all I have...for now. Thank you so much again for your willingness to read all of this and to hopefully share your knowledge with me (us). It is truly appreciated.

------------------------------
Brett Buffum
Theatre Teacher
Spring Hill KS
------------------------------

I've done MSND twice and as an English teacher I taught it for years.  I did my own cutting and used my own version both times. I did consult some other versions but because I was comfortable with the material I felt confident doing my own. I'd be happy to share ... but honestly can't remember the run time. 

As for costumes and setting ... I played it more or less accurately ... I felt the Grecian style costumes were easily to make and affordable and thus the mechanicals were also pretty basic and cost effective. As for set we did a back wall of painted trees (now days I'd probably just rent a drop) and added in a few staging areas (a few ramps and raised platforms) disguised by bushes. For the castle scenes we just closed the center traveller, used some pillars from the local bridal store and added some thrones.

To convey understanding of the lines I would go with table work ... I didn't do it that way and have since tried it with other shows and it works so well!! Especially if you break them into smaller groups where it's easier to focus on specific groups. With MSND that would be easy to do and you could work on pronunciation and such while discussing meaning and emotions.

Good luck! I absolutely love this show!

------------------------------
Toni Thomas
English Teacher, Theatre Director
West Branch MI
------------------------------

Original Message:
Sent: 01-04-2020 18:31
From: Brett Buffum
Subject: Midsummer It Is...Now What?

Thank you SO much to everyone who posted such great thoughts regarding Shakespeare show selection.  I was always aiming for Midsummer and now I know why :)

So, this is my first full Shakespeare production and I want to do it right. I teach Shakespeare in different ways throughout my classes and we work on monologues, so I have comfort with the material, but want to again pick all of your awesome brains to figure out best practices.

1. Cut the script ourselves or use a precut script?  I want a 90 minute run. It seems most here ended up with something similar. Did you find it, cut it yourself, cut it with the cast?  What would you suggest doing? Why?
(Honestly, thinking about being the first time, time constraints, and not wanting to mess it up, I'm leaning towards using an existing version that is a proven winner, but am open to change that.)

2. If I go with a pre-cut version, do any of you have a great suggestion of one to use? I don't mind buying from a publisher or of course, "borrowing" one of your one-off cut copies.

3. Time and Place Setting - Many talk about the value and fun of moving the setting and time to make it more entertaining and relevant.  I absolutely see the value of that. Since it's my first time producing, I feel like I want to do it authentic to the script. Am I making a mistake? What are your thoughts on staying authentic versus moving time and place with this show?

4. Cast understanding and meaning - Do you guys have your cast translate their lines for understanding and/or do other analysis? Do you use something like a "No Fear" script with side translations? Many have talked about "table work" and finding understanding and meaning together. What do you find to be the most effective and rewarding process to achieve understand and meaning?

I think that's all I have...for now. Thank you so much again for your willingness to read all of this and to hopefully share your knowledge with me (us). It is truly appreciated.

------------------------------
Brett Buffum
Theatre Teacher
Spring Hill KS
------------------------------

I directed this for the 2nd time in theSpring of 2019. You are more than welcome to use my cut script, at least as a starting point. There is no point in paying for a script in the public domain! Our script ran about an hour and a half with a 15 min intermission. 

I've set and acted in Shakespeare that has been in all types of time periods and settings. Talk to your students, and see what catches their interest. Steampunk? High school 2020? 1980s? Traditional? Anything goes! I think that budget may be the biggest influencer. A Bollywood version costs way more than contemporary to pull off.


Finally, please say no to "no fear Shakespeare." Shakespeare has so many opportunities within the language. Don't let that publication make the choices for you. 


------------------------------
Rebecca Black
Teacher/Director
Wayland MI
------------------------------

Original Message:
Sent: 01-04-2020 18:31
From: Brett Buffum
Subject: Midsummer It Is...Now What?

Thank you SO much to everyone who posted such great thoughts regarding Shakespeare show selection.  I was always aiming for Midsummer and now I know why :)

So, this is my first full Shakespeare production and I want to do it right. I teach Shakespeare in different ways throughout my classes and we work on monologues, so I have comfort with the material, but want to again pick all of your awesome brains to figure out best practices.

1. Cut the script ourselves or use a precut script?  I want a 90 minute run. It seems most here ended up with something similar. Did you find it, cut it yourself, cut it with the cast?  What would you suggest doing? Why?
(Honestly, thinking about being the first time, time constraints, and not wanting to mess it up, I'm leaning towards using an existing version that is a proven winner, but am open to change that.)

2. If I go with a pre-cut version, do any of you have a great suggestion of one to use? I don't mind buying from a publisher or of course, "borrowing" one of your one-off cut copies.

3. Time and Place Setting - Many talk about the value and fun of moving the setting and time to make it more entertaining and relevant.  I absolutely see the value of that. Since it's my first time producing, I feel like I want to do it authentic to the script. Am I making a mistake? What are your thoughts on staying authentic versus moving time and place with this show?

4. Cast understanding and meaning - Do you guys have your cast translate their lines for understanding and/or do other analysis? Do you use something like a "No Fear" script with side translations? Many have talked about "table work" and finding understanding and meaning together. What do you find to be the most effective and rewarding process to achieve understand and meaning?

I think that's all I have...for now. Thank you so much again for your willingness to read all of this and to hopefully share your knowledge with me (us). It is truly appreciated.

------------------------------
Brett Buffum
Theatre Teacher
Spring Hill KS
------------------------------

Brett, there is a fantastic book written by former Royal Shakespeare Company actor Michael Pennington. Here’s the link to the book on Amazon. It is so full of amazing information. I used it the first time I directed the show and it was a huge huge help.


https://www.amazon.com/Midsummer-Nights-Dream-Users-Guide/dp/1854598104/ref=nodl_

---------------------------------
Jeremy Riggs
---------------------------------



Original Message:
Sent: 01-04-2020
From: Brett Buffum
Subject: Midsummer It Is...Now What?

Thank you SO much to everyone who posted such great thoughts regarding Shakespeare show selection.  I was always aiming for Midsummer and now I know why :)

So, this is my first full Shakespeare production and I want to do it right. I teach Shakespeare in different ways throughout my classes and we work on monologues, so I have comfort with the material, but want to again pick all of your awesome brains to figure out best practices.

1. Cut the script ourselves or use a precut script?  I want a 90 minute run. It seems most here ended up with something similar. Did you find it, cut it yourself, cut it with the cast?  What would you suggest doing? Why?
(Honestly, thinking about being the first time, time constraints, and not wanting to mess it up, I'm leaning towards using an existing version that is a proven winner, but am open to change that.)

2. If I go with a pre-cut version, do any of you have a great suggestion of one to use? I don't mind buying from a publisher or of course, "borrowing" one of your one-off cut copies.

3. Time and Place Setting - Many talk about the value and fun of moving the setting and time to make it more entertaining and relevant.  I absolutely see the value of that. Since it's my first time producing, I feel like I want to do it authentic to the script. Am I making a mistake? What are your thoughts on staying authentic versus moving time and place with this show?

4. Cast understanding and meaning - Do you guys have your cast translate their lines for understanding and/or do other analysis? Do you use something like a "No Fear" script with side translations? Many have talked about "table work" and finding understanding and meaning together. What do you find to be the most effective and rewarding process to achieve understand and meaning? 

I think that's all I have...for now. Thank you so much again for your willingness to read all of this and to hopefully share your knowledge with me (us). It is truly appreciated.

------------------------------
Brett Buffum
Theatre Teacher
Spring Hill KS
------------------------------

I'd let the students cut the script with your guidance. It will give them a better understanding of the script and give them ownership. And you don't have to pay royalties which you most likely would have to do with a purchased script. I have used the "No Fear" version of Shakespeare to help with understanding. There is another "translation" series, I can't remember the name, but their Midsummer translation is TERRIBLE! I threw it away and I'm loathe to throw out books. Simply Shakespeare is great, too, but they don't have Midsummer in the series yet.
When the plays were originally staged, as far as we know, they used contemporary costumes. I've done it with the Rude Mechanicals as modern day workers (McDonald's, car repairman, UPS delivery person, etc.) and I've done it with the RM as clowns and red noses and everyone else in a variation on pajamas and the faeries in the dye. That production was in a small thrust and the stage was fake grass from Lowes. Just don't get too "out there" that the concept ceases to support the story. I've done Midsummer 3 times, once in middle school, love it.

------------------------------
John Perry
Retired Theatre Teacher
------------------------------

Original Message:
Sent: 01-04-2020 18:31
From: Brett Buffum
Subject: Midsummer It Is...Now What?

Thank you SO much to everyone who posted such great thoughts regarding Shakespeare show selection.  I was always aiming for Midsummer and now I know why :)

So, this is my first full Shakespeare production and I want to do it right. I teach Shakespeare in different ways throughout my classes and we work on monologues, so I have comfort with the material, but want to again pick all of your awesome brains to figure out best practices.

1. Cut the script ourselves or use a precut script?  I want a 90 minute run. It seems most here ended up with something similar. Did you find it, cut it yourself, cut it with the cast?  What would you suggest doing? Why?
(Honestly, thinking about being the first time, time constraints, and not wanting to mess it up, I'm leaning towards using an existing version that is a proven winner, but am open to change that.)

2. If I go with a pre-cut version, do any of you have a great suggestion of one to use? I don't mind buying from a publisher or of course, "borrowing" one of your one-off cut copies.

3. Time and Place Setting - Many talk about the value and fun of moving the setting and time to make it more entertaining and relevant.  I absolutely see the value of that. Since it's my first time producing, I feel like I want to do it authentic to the script. Am I making a mistake? What are your thoughts on staying authentic versus moving time and place with this show?

4. Cast understanding and meaning - Do you guys have your cast translate their lines for understanding and/or do other analysis? Do you use something like a "No Fear" script with side translations? Many have talked about "table work" and finding understanding and meaning together. What do you find to be the most effective and rewarding process to achieve understand and meaning?

I think that's all I have...for now. Thank you so much again for your willingness to read all of this and to hopefully share your knowledge with me (us). It is truly appreciated.

------------------------------
Brett Buffum
Theatre Teacher
Spring Hill KS
------------------------------

Yay!  Midsummer is a blast.  I am currently directing it with a 8-12 grade cast for the 4th or 5th time.  I always cut my own script, and usually recut it based on the cast the concept, etc.   I highly recommend doing this because it allows you to get very familiar with the text and customize it, as well as taking care of a lot of production prep simultaneously. If you already teach Shakespeare, you have all the tools you need to do this.   If you are limited on prep time, I am attaching my current rehearsal script if you want to use or just use it as a guide.   This is probably a 80-90 minute cutting, with a full cast.  I have other cuttings somewhere in the bowels of my hard drive for as few as 10 actors. I am happy to share! I am also so happy to answer any questions or help you tailor the script as I love to empower other teachers to direct and teach Shakespeare. 
As for the concept, keep in mind that there is no such thing as being "authentic" since the setting is a pastiche of Elizabethan England, Shakespeare's understanding of Ancient Greece and a little bit of Rome thrown in anyway. The play can support so many different concepts, which is one of the great things about it.   I like to keep things simple, with the focus on the storytelling, so I have mostly produced it with different takes on a contemporary setting, which makes sourcing costumes and sets easy.  My current production is the most concept-heavy version I have ever directed, set in the 1920s (to celebrate the return of the Roaring '20s). I am working with a composer from our local university's graduate Jazz studies program and he is creating beautiful original music.  
Table work is essential, but I try not to spend too much time at the actual table, as it can make the student over-intellectualize the text.  Get a good annotated text, do a careful and slow readthrough, empower them to look up words and interpret the text by paraphrasing and then get them on their feet ASAP.   I agree with the advice to avoid the No Fear version.  There is so much value in the students coming to their own understanding of what they are saying. My new favorite text is the Arden Performance edition.  It doesn't have the most annotations, but it has the most essential stuff and some great articles about the verse, etc.  I bought a class set of 10 and the students use them in rehearsal or check them out to take home.  I also have a number of other versions on hand so I can toss someone a book when they are struggling with meaning.  
(https://www.amazon.com/Midsummer-Nights-Dream-Performance-Editions/dp/1474245196/ref=sr_1_2?crid=1O0STZDSSTAO6&keywords=arden+performance+editions&qid=1578243566&sprefix=arden+per%2Caps%2C137&sr=8-2) 
I could go on for days, so please reach out if you need anything!



------------------------------
Elana Kepner
Theatre Instructor
The Oakwood School
Greenville NC
------------------------------

Original Message:
Sent: 01-04-2020 18:31
From: Brett Buffum
Subject: Midsummer It Is...Now What?

Thank you SO much to everyone who posted such great thoughts regarding Shakespeare show selection.  I was always aiming for Midsummer and now I know why :)

So, this is my first full Shakespeare production and I want to do it right. I teach Shakespeare in different ways throughout my classes and we work on monologues, so I have comfort with the material, but want to again pick all of your awesome brains to figure out best practices.

1. Cut the script ourselves or use a precut script?  I want a 90 minute run. It seems most here ended up with something similar. Did you find it, cut it yourself, cut it with the cast?  What would you suggest doing? Why?
(Honestly, thinking about being the first time, time constraints, and not wanting to mess it up, I'm leaning towards using an existing version that is a proven winner, but am open to change that.)

2. If I go with a pre-cut version, do any of you have a great suggestion of one to use? I don't mind buying from a publisher or of course, "borrowing" one of your one-off cut copies.

3. Time and Place Setting - Many talk about the value and fun of moving the setting and time to make it more entertaining and relevant.  I absolutely see the value of that. Since it's my first time producing, I feel like I want to do it authentic to the script. Am I making a mistake? What are your thoughts on staying authentic versus moving time and place with this show?

4. Cast understanding and meaning - Do you guys have your cast translate their lines for understanding and/or do other analysis? Do you use something like a "No Fear" script with side translations? Many have talked about "table work" and finding understanding and meaning together. What do you find to be the most effective and rewarding process to achieve understand and meaning?

I think that's all I have...for now. Thank you so much again for your willingness to read all of this and to hopefully share your knowledge with me (us). It is truly appreciated.

------------------------------
Brett Buffum
Theatre Teacher
Spring Hill KS
------------------------------

I haven't directed Midsummer, but I have directed Shakespeare at the high school level, so my answers are more generic.

1. Cut the script ourselves or use a precut script? I have borrowed from other schools, then used their cuts plus the original script to make a decision about my own cuts.  One was The Tempest - most of the cutting we did was so poor Prospera (yes, we changed it) didn't have to do a 3 page monologue.  For Hamlet, we had to cut for time.  I used the guidance of those who came before me, but did end up reinstating a couple of scenes and cutting in a couple of other places.

Part of the reason I like doing Shakespeare is because it's cheap, so I wouldn't prefer to use a precut script.  However, if I didn't have access to other people's scripts and/or wasn't confident in my own abilities - or if it was a last minute decision - I'd bite the bullet and pay someone else to do it for me.  My time is worth something, for sure.

3. Time and Place Setting - I've done both, and I don't think there's a right or a wrong.  Whatever you choose, just make sure it serves the story!  I have seen some strange interpretations, and sometimes it has felt more like the priority was to do something different.

4. Cast understanding and meaning - We cast our Shakespeare shows 5-6 months early.  Usually we audition in December, get scripts right before winter break, then start once a week table reads in January.  Full rehearsal starts in March and we perform in May.  We all like having that extra time.  We get to approach it in a more relaxed manner and the kids don't feel as overwhelmed.  We aim for an act a week in our table work, doing a lot of stopping and discussing, paraphrasing, etc.  With Tempest, I did have the No Fear books that the actors and technicians were able to borrow because it's part of my curriculum.  Other times, I don't have them available, so I point them toward the No Fear stuff online and they utilize that.

This way, once we hit blocking, they've already done a lot of the work on meaning, character relationships, etc.  We've all done it together so everyone can see the whole picture.  We do sometimes have to go back and remind ourselves of what things mean, but that's ok.  Once we hit the March rehearsal time, rehearsals run basically the same as any other show.  (FYI, during our once a week time we're also in rehearsal with another show, so most of the kids are rehearsing that 4 days a week and the Shakespeare one day a week).

------------------------------
Laura Steenson
Theatre Director
Reynolds High School
Troutdale OR
------------------------------

Original Message:
Sent: 01-04-2020 18:31
From: Brett Buffum
Subject: Midsummer It Is...Now What?

Thank you SO much to everyone who posted such great thoughts regarding Shakespeare show selection.  I was always aiming for Midsummer and now I know why :)

So, this is my first full Shakespeare production and I want to do it right. I teach Shakespeare in different ways throughout my classes and we work on monologues, so I have comfort with the material, but want to again pick all of your awesome brains to figure out best practices.

1. Cut the script ourselves or use a precut script?  I want a 90 minute run. It seems most here ended up with something similar. Did you find it, cut it yourself, cut it with the cast?  What would you suggest doing? Why?
(Honestly, thinking about being the first time, time constraints, and not wanting to mess it up, I'm leaning towards using an existing version that is a proven winner, but am open to change that.)

2. If I go with a pre-cut version, do any of you have a great suggestion of one to use? I don't mind buying from a publisher or of course, "borrowing" one of your one-off cut copies.

3. Time and Place Setting - Many talk about the value and fun of moving the setting and time to make it more entertaining and relevant.  I absolutely see the value of that. Since it's my first time producing, I feel like I want to do it authentic to the script. Am I making a mistake? What are your thoughts on staying authentic versus moving time and place with this show?

4. Cast understanding and meaning - Do you guys have your cast translate their lines for understanding and/or do other analysis? Do you use something like a "No Fear" script with side translations? Many have talked about "table work" and finding understanding and meaning together. What do you find to be the most effective and rewarding process to achieve understand and meaning?

I think that's all I have...for now. Thank you so much again for your willingness to read all of this and to hopefully share your knowledge with me (us). It is truly appreciated.

------------------------------
Brett Buffum
Theatre Teacher
Spring Hill KS
------------------------------

Thank you all SO much for the amazing insights. I will be using them all for sure.

------------------------------
Brett Buffum
Theatre Teacher
Spring Hill KS
------------------------------

Original Message:
Sent: 01-05-2020 14:01
From: Laura Steenson
Subject: Midsummer It Is...Now What?

I haven't directed Midsummer, but I have directed Shakespeare at the high school level, so my answers are more generic.

1. Cut the script ourselves or use a precut script? I have borrowed from other schools, then used their cuts plus the original script to make a decision about my own cuts.  One was The Tempest - most of the cutting we did was so poor Prospera (yes, we changed it) didn't have to do a 3 page monologue.  For Hamlet, we had to cut for time.  I used the guidance of those who came before me, but did end up reinstating a couple of scenes and cutting in a couple of other places.

Part of the reason I like doing Shakespeare is because it's cheap, so I wouldn't prefer to use a precut script.  However, if I didn't have access to other people's scripts and/or wasn't confident in my own abilities - or if it was a last minute decision - I'd bite the bullet and pay someone else to do it for me.  My time is worth something, for sure.

3. Time and Place Setting - I've done both, and I don't think there's a right or a wrong.  Whatever you choose, just make sure it serves the story!  I have seen some strange interpretations, and sometimes it has felt more like the priority was to do something different.

4. Cast understanding and meaning - We cast our Shakespeare shows 5-6 months early.  Usually we audition in December, get scripts right before winter break, then start once a week table reads in January.  Full rehearsal starts in March and we perform in May.  We all like having that extra time.  We get to approach it in a more relaxed manner and the kids don't feel as overwhelmed.  We aim for an act a week in our table work, doing a lot of stopping and discussing, paraphrasing, etc.  With Tempest, I did have the No Fear books that the actors and technicians were able to borrow because it's part of my curriculum.  Other times, I don't have them available, so I point them toward the No Fear stuff online and they utilize that.

This way, once we hit blocking, they've already done a lot of the work on meaning, character relationships, etc.  We've all done it together so everyone can see the whole picture.  We do sometimes have to go back and remind ourselves of what things mean, but that's ok.  Once we hit the March rehearsal time, rehearsals run basically the same as any other show.  (FYI, during our once a week time we're also in rehearsal with another show, so most of the kids are rehearsing that 4 days a week and the Shakespeare one day a week).

------------------------------
Laura Steenson
Theatre Director
Reynolds High School
Troutdale OR

Original Message:
Sent: 01-04-2020 18:31
From: Brett Buffum
Subject: Midsummer It Is...Now What?

Thank you SO much to everyone who posted such great thoughts regarding Shakespeare show selection.  I was always aiming for Midsummer and now I know why :)

So, this is my first full Shakespeare production and I want to do it right. I teach Shakespeare in different ways throughout my classes and we work on monologues, so I have comfort with the material, but want to again pick all of your awesome brains to figure out best practices.

1. Cut the script ourselves or use a precut script?  I want a 90 minute run. It seems most here ended up with something similar. Did you find it, cut it yourself, cut it with the cast?  What would you suggest doing? Why?
(Honestly, thinking about being the first time, time constraints, and not wanting to mess it up, I'm leaning towards using an existing version that is a proven winner, but am open to change that.)

2. If I go with a pre-cut version, do any of you have a great suggestion of one to use? I don't mind buying from a publisher or of course, "borrowing" one of your one-off cut copies.

3. Time and Place Setting - Many talk about the value and fun of moving the setting and time to make it more entertaining and relevant.  I absolutely see the value of that. Since it's my first time producing, I feel like I want to do it authentic to the script. Am I making a mistake? What are your thoughts on staying authentic versus moving time and place with this show?

4. Cast understanding and meaning - Do you guys have your cast translate their lines for understanding and/or do other analysis? Do you use something like a "No Fear" script with side translations? Many have talked about "table work" and finding understanding and meaning together. What do you find to be the most effective and rewarding process to achieve understand and meaning?

I think that's all I have...for now. Thank you so much again for your willingness to read all of this and to hopefully share your knowledge with me (us). It is truly appreciated.

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Brett Buffum
Theatre Teacher
Spring Hill KS
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90 minutes sounds like a really great length. That's a good call. I think going with a precut version would speed the process up, you could always add stuff back in or alter it, but I would try to do that before the rehearsals if possible. When I did a cutting a few years ago, I really tried to stay  focused on Puck's story. I've found that lover's fight lasts about 15-20 min and the last scene runs about 20 minutes with the play-within-a-play. 

It could be helpful to get some lexicons and old copies of Arden and Oxford versions. The older versions tend to be more actor friendly usually. Having them translate it all would maybe be good homework for them and than they come in and you can help them alter translations if need be. I like to start scene rehearsals doing Line-Modern Translation-line. And than I also like Line-Subtext-Line. But I wouldn't do that for the read through, that would be too long i think. 


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Brendan Moser
Theatre Teacher
West Chester PA
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Original Message:
Sent: 01-04-2020 18:31
From: Brett Buffum
Subject: Midsummer It Is...Now What?

So, this is my first full Shakespeare production and I want to do it right. I teach Shakespeare in different ways throughout my classes and we work on monologues, so I have comfort with the material, but want to again pick all of your awesome brains to figure out best practices.

1. Cut the script ourselves or use a precut script?  I want a 90 minute run. It seems most here ended up with something similar. Did you find it, cut it yourself, cut it with the cast?  What would you suggest doing? Why?
(Honestly, thinking about being the first time, time constraints, and not wanting to mess it up, I'm leaning towards using an existing version that is a proven winner, but am open to change that.)

2. If I go with a pre-cut version, do any of you have a great suggestion of one to use? I don't mind buying from a publisher or of course, "borrowing" one of your one-off cut copies.

3. Time and Place Setting - Many talk about the value and fun of moving the setting and time to make it more entertaining and relevant.  I absolutely see the value of that. Since it's my first time producing, I feel like I want to do it authentic to the script. Am I making a mistake? What are your thoughts on staying authentic versus moving time and place with this show?

4. Cast understanding and meaning - Do you guys have your cast translate their lines for understanding and/or do other analysis? Do you use something like a "No Fear" script with side translations? Many have talked about "table work" and finding understanding and meaning together. What do you find to be the most effective and rewarding process to achieve understand and meaning?

I think that's all I have...for now. Thank you so much again for your willingness to read all of this and to hopefully share your knowledge with me (us). It is truly appreciated.

------------------------------
Brett Buffum
Theatre Teacher
Spring Hill KS
------------------------------