Open Forum

Fellow Theatre Teachers, 

I need to rant a little. Over the past few years I have seen an increased amount of the use of professionally painted scenic backdrops in high school performances. I don't know what it is but I cannot stand them. It makes me sad to think that students were robbed an opportunity for hands-on-learning. Why do some of us take the easy way out and make a phone call or an online click rather than inspiring students to create original technical elements for a show that they can be proud of?

Let's be honest. When we give 100% of the design and construction to students and guide them with our own limited skill set the technical elements might not be as sexy or professional. I get that. However, what are we teaching our students when we give up on developing their skills and just make parents and professionals build the sets, costumes and everything in between?

I think we should care about educational ownership. When we let go of our desire to control everything and have the best everything and give it back to the kids where it belongs something beautiful happens. They learn! They grow! They invest more and they create better theatre! 

If I just threw you and your artistic practices under the bus, I apologize. My goal was to point out this trend and caution us all, myself included. With how busy I am (and you are) sometimes it's really tempting to cut corners. We just have to remind each other that when we take those artistic short cuts in the name of a better show, the only people we hurt are our students. Aren't they why we get up and do this? 

Drops the mic...spotlight out. 





-------------------------------------------
Brian Gehrlein
Theatre Director
Liberty MO
-------------------------------------------

I certainly understand the need for kids to have ownership of their program, but there is a huge matter of logistics.  How practical is it to create a single backdrop, much less a lot of them needed for some shows?  Have you priced how much a gallon of theatrical paint costs?  Muslin?  Do you have an industrial sewing machine needed to handle sewing a drop?  Not to mention the space needed to paint?

You must have a much larger budget and work space than we do!

Of course kids need to do the majority of the work--it's their show.  But I don't think renting a backdrop to save money and time equals "whoring" out your program.  

You teach in Liberty?  Why not take a field trip to Overland Park and visit Kenmark Studios--let your kids see how a drop is created. It may not be hands-on, but at least they get the experience.

I'm at Shawnee Mission East--we don't paint our drops, and in no way do I feel we are cheating our kids.

Brian Cappello

-------------------------------------------
Brian Cappello
Grandview MO
-------------------------------------------


Original Message:
Sent: 11-25-2014 09:38
From: Brian Gehrlein
Subject: Professional Backdrops

Fellow Theatre Teachers, 

I need to rant a little. Over the past few years I have seen an increased amount of the use of professionally painted scenic backdrops in high school performances. I don't know what it is but I cannot stand them. It makes me sad to think that students were robbed an opportunity for hands-on-learning. Why do some of us take the easy way out and make a phone call or an online click rather than inspiring students to create original technical elements for a show that they can be proud of?

Let's be honest. When we give 100% of the design and construction to students and guide them with our own limited skill set the technical elements might not be as sexy or professional. I get that. However, what are we teaching our students when we give up on developing their skills and just make parents and professionals build the sets, costumes and everything in between?

I think we should care about educational ownership. When we let go of our desire to control everything and have the best everything and give it back to the kids where it belongs something beautiful happens. They learn! They grow! They invest more and they create better theatre! 

If I just threw you and your artistic practices under the bus, I apologize. My goal was to point out this trend and caution us all, myself included. With how busy I am (and you are) sometimes it's really tempting to cut corners. We just have to remind each other that when we take those artistic short cuts in the name of a better show, the only people we hurt are our students. Aren't they why we get up and do this? 

Drops the mic...spotlight out. 





-------------------------------------------
Brian Gehrlein
Theatre Director
Liberty MO
-------------------------------------------

I agree and would extend the rant to include schools that simply rent a set from some other production. No learning to be had in renting a professional set. 

-------------------------------------------
Mark A Zimmerman
Theatre Director
Akron School for the Arts
Akron Public Schools
-------------------------------------------


Original Message:
Sent: 11-25-2014 09:38
From: Brian Gehrlein
Subject: Professional Backdrops

Fellow Theatre Teachers, 

I need to rant a little. Over the past few years I have seen an increased amount of the use of professionally painted scenic backdrops in high school performances. I don't know what it is but I cannot stand them. It makes me sad to think that students were robbed an opportunity for hands-on-learning. Why do some of us take the easy way out and make a phone call or an online click rather than inspiring students to create original technical elements for a show that they can be proud of?

Let's be honest. When we give 100% of the design and construction to students and guide them with our own limited skill set the technical elements might not be as sexy or professional. I get that. However, what are we teaching our students when we give up on developing their skills and just make parents and professionals build the sets, costumes and everything in between?

I think we should care about educational ownership. When we let go of our desire to control everything and have the best everything and give it back to the kids where it belongs something beautiful happens. They learn! They grow! They invest more and they create better theatre! 

If I just threw you and your artistic practices under the bus, I apologize. My goal was to point out this trend and caution us all, myself included. With how busy I am (and you are) sometimes it's really tempting to cut corners. We just have to remind each other that when we take those artistic short cuts in the name of a better show, the only people we hurt are our students. Aren't they why we get up and do this? 

Drops the mic...spotlight out. 





-------------------------------------------
Brian Gehrlein
Theatre Director
Liberty MO
-------------------------------------------

Hi Brian,

I certainly understand your point. Our beliefs are right in line; . . . however, sometimes it makes sense. My students built all of our own sets. In eighteen years, I had one parent help set up one set piece (raked stage on which I did not trust my math). The rest of our set pieces were all built, placed, and painted by the students. They worked in wood, cloth, and metal. I often brought in the Art Department teachers and students to help us create backdrops for shows. (I also got the Music Department create original compositions for several of my productions.)

When I did The Lion, The Witch, and The Wardrobe, I rented drops. Why the change? I wanted to create a really magical transition into Narnia and I didn't have the time, or resources to do it at the level that I wanted. I rented a backdrop and a full set of legs and the effect was magical.

So . . . As a matter of policy, I completely agree with you. As a matter of having a range of artistic choices, I think professional drops should be in the tool box.

Side note: I always told my students that, "If you can paint sets, you can make a living anywhere. Unfortunately, it's the one thing I can't teach you." I'm a lousy graphic artist. Despite my lack of talent in this regard, one of my former students has been making a living for the past 25 plus years painting sets for all of the theatres in Washington, DC. I'm so proud!

-------------------------------------------
Robert Smith
VA Co-Chapter Director
James Madison High School
Vienna VA
-------------------------------------------


Original Message:
Sent: 11-25-2014 09:38
From: Brian Gehrlein
Subject: Professional Backdrops

Fellow Theatre Teachers, 

I need to rant a little. Over the past few years I have seen an increased amount of the use of professionally painted scenic backdrops in high school performances. I don't know what it is but I cannot stand them. It makes me sad to think that students were robbed an opportunity for hands-on-learning. Why do some of us take the easy way out and make a phone call or an online click rather than inspiring students to create original technical elements for a show that they can be proud of?

Let's be honest. When we give 100% of the design and construction to students and guide them with our own limited skill set the technical elements might not be as sexy or professional. I get that. However, what are we teaching our students when we give up on developing their skills and just make parents and professionals build the sets, costumes and everything in between?

I think we should care about educational ownership. When we let go of our desire to control everything and have the best everything and give it back to the kids where it belongs something beautiful happens. They learn! They grow! They invest more and they create better theatre! 

If I just threw you and your artistic practices under the bus, I apologize. My goal was to point out this trend and caution us all, myself included. With how busy I am (and you are) sometimes it's really tempting to cut corners. We just have to remind each other that when we take those artistic short cuts in the name of a better show, the only people we hurt are our students. Aren't they why we get up and do this? 

Drops the mic...spotlight out. 





-------------------------------------------
Brian Gehrlein
Theatre Director
Liberty MO
-------------------------------------------

Brian,

Amen. It's part of a larger issue. While I can see the occasional need to rent such a creature, in general we are getting caught up in the overall societal pattern of what I call "baseline creep." In a nutshell: Years back, coffee from Dunkin' Donuts or McDonald's was a perfectly acceptable cup o' joe, and even a treat. Nowadays, if you'e not sucking down some $5.50 creation made from organic, fair-trade Sumatran beans harvested by the light of full moon, you are somehow uncultured. Working with what's available to you is a nearly forgotten discipline. Since everything is just a click away, we must have that which is ideal.

Scholastic theatre is heading, full-gallop, down a similar primrose path. Everything must look like it came off a national touring company. It's no longer about the process, it's about the product. Outside companies are hired in by an increasing number of schools to do pretty much everything except act. Here in GA, many of my fellow theatre educators complain that one-act competition, which is allegedly an acting competition, has effectively become "the production values competition." Exaggeration? Only slightly. One of my peers actually heard a judge say, during a ThesCon seminar "I just don't know how to judge a school if they don't bring their own sound system."

But we should not be surprised. Athletics has been on this track for years.. Used to be, play a little football or soccer in the fall, maybe some hoops in the winter, perhaps baseball in the spring, and you might play little league in the summer. Now? Find a sport, specialize in it. Hire outside trainers. Get on a travel team. And we wonder why orthopedists are seeing repetitive strain injuries in teenagers previously seen only in those in their mid-30s. 

What's the answer? I have absolutely no idea. Last Spring, I pulled off a Godspell where the only adult involvement was me as Director/Set designer, my schools choral teacher as vocal coach, and a local musician friend of mine for accompaniment. Everything else: student. Student choreography. Student Stage Manager. Student AD. Student-designed and painted scenery. Student costuming. It didn't look like any production you'd ever seen. It was acclaimed, and the students are still swapping photos of it on Instagram 8 months later. Because they owned it.

So yes, I understand the call to teach the students how to do it so it looks professional. As long as we're focused on the process, that's fine. But when it simply becomes about the product, I fear we are losing something. Yeah, this is a pet topic. You can read more from my blog:
http://gottaact.blogspot.com/2014/04/process-not-product.html

Scott

-------------------------------------------
Scott Piehler
Drama Director
Lilburn GA
-------------------------------------------


Original Message:
Sent: 11-25-2014 09:38
From: Brian Gehrlein
Subject: Professional Backdrops

Fellow Theatre Teachers, 

I need to rant a little. Over the past few years I have seen an increased amount of the use of professionally painted scenic backdrops in high school performances. I don't know what it is but I cannot stand them. It makes me sad to think that students were robbed an opportunity for hands-on-learning. Why do some of us take the easy way out and make a phone call or an online click rather than inspiring students to create original technical elements for a show that they can be proud of?

Let's be honest. When we give 100% of the design and construction to students and guide them with our own limited skill set the technical elements might not be as sexy or professional. I get that. However, what are we teaching our students when we give up on developing their skills and just make parents and professionals build the sets, costumes and everything in between?

I think we should care about educational ownership. When we let go of our desire to control everything and have the best everything and give it back to the kids where it belongs something beautiful happens. They learn! They grow! They invest more and they create better theatre! 

If I just threw you and your artistic practices under the bus, I apologize. My goal was to point out this trend and caution us all, myself included. With how busy I am (and you are) sometimes it's really tempting to cut corners. We just have to remind each other that when we take those artistic short cuts in the name of a better show, the only people we hurt are our students. Aren't they why we get up and do this? 

Drops the mic...spotlight out. 





-------------------------------------------
Brian Gehrlein
Theatre Director
Liberty MO
-------------------------------------------

Hi Brian,
You sell us all short.  I teach at a fairly rural high school in Maine and am fortunate to have a decent stage for performance-many schools do not- but no shop space.  I am a professional scenic artist, once a member of USA 829, worked in NYC.  My students design our scenery and paint a lot, but we rarely do drops because we have no space.  We build our scenery on stage and in a neighboring classroom.  We have to go down the hall to the art or science room to wash our brushes. We would have to cancel rehearsals for a week for one drop.   I'm thrilled for you that you have the luxury.  Enjoy it!

-------------------------------------------
Rick Osann
Theatre Teacher
Standish ME
-------------------------------------------


Original Message:
Sent: 11-25-2014 09:38
From: Brian Gehrlein
Subject: Professional Backdrops

Fellow Theatre Teachers, 

I need to rant a little. Over the past few years I have seen an increased amount of the use of professionally painted scenic backdrops in high school performances. I don't know what it is but I cannot stand them. It makes me sad to think that students were robbed an opportunity for hands-on-learning. Why do some of us take the easy way out and make a phone call or an online click rather than inspiring students to create original technical elements for a show that they can be proud of?

Let's be honest. When we give 100% of the design and construction to students and guide them with our own limited skill set the technical elements might not be as sexy or professional. I get that. However, what are we teaching our students when we give up on developing their skills and just make parents and professionals build the sets, costumes and everything in between?

I think we should care about educational ownership. When we let go of our desire to control everything and have the best everything and give it back to the kids where it belongs something beautiful happens. They learn! They grow! They invest more and they create better theatre! 

If I just threw you and your artistic practices under the bus, I apologize. My goal was to point out this trend and caution us all, myself included. With how busy I am (and you are) sometimes it's really tempting to cut corners. We just have to remind each other that when we take those artistic short cuts in the name of a better show, the only people we hurt are our students. Aren't they why we get up and do this? 

Drops the mic...spotlight out. 





-------------------------------------------
Brian Gehrlein
Theatre Director
Liberty MO
-------------------------------------------

While the idea of having student painted backdrops sound great, we all don't have a paint floor or any type of space to paint drops. I do what I can with student produced sets and hire assistance when I can.

But some questions come to mind:

Do you use microphones so the students are heard or make sure they can fill the house with their voice?

Do you hire a choreographer or is the choreographer student created?

What's the difference between using microphones, hiring a choreographer and renting drops?

-------------------------------------------
John Perry
Drama Instructor
Atherton High School
Louisville KY
-------------------------------------------


Original Message:
Sent: 11-26-2014 08:28
From: Richard Osann
Subject: Professional Backdrops

Hi Brian,
You sell us all short.  I teach at a fairly rural high school in Maine and am fortunate to have a decent stage for performance-many schools do not- but no shop space.  I am a professional scenic artist, once a member of USA 829, worked in NYC.  My students design our scenery and paint a lot, but we rarely do drops because we have no space.  We build our scenery on stage and in a neighboring classroom.  We have to go down the hall to the art or science room to wash our brushes. We would have to cancel rehearsals for a week for one drop.   I'm thrilled for you that you have the luxury.  Enjoy it!

-------------------------------------------
Rick Osann
Theatre Teacher
Standish ME
-------------------------------------------


Original Message:
Sent: 11-25-2014 09:38
From: Brian Gehrlein
Subject: Professional Backdrops

Fellow Theatre Teachers, 

I need to rant a little. Over the past few years I have seen an increased amount of the use of professionally painted scenic backdrops in high school performances. I don't know what it is but I cannot stand them. It makes me sad to think that students were robbed an opportunity for hands-on-learning. Why do some of us take the easy way out and make a phone call or an online click rather than inspiring students to create original technical elements for a show that they can be proud of?

Let's be honest. When we give 100% of the design and construction to students and guide them with our own limited skill set the technical elements might not be as sexy or professional. I get that. However, what are we teaching our students when we give up on developing their skills and just make parents and professionals build the sets, costumes and everything in between?

I think we should care about educational ownership. When we let go of our desire to control everything and have the best everything and give it back to the kids where it belongs something beautiful happens. They learn! They grow! They invest more and they create better theatre! 

If I just threw you and your artistic practices under the bus, I apologize. My goal was to point out this trend and caution us all, myself included. With how busy I am (and you are) sometimes it's really tempting to cut corners. We just have to remind each other that when we take those artistic short cuts in the name of a better show, the only people we hurt are our students. Aren't they why we get up and do this? 

Drops the mic...spotlight out. 





-------------------------------------------
Brian Gehrlein
Theatre Director
Liberty MO
-------------------------------------------

Hi John,

I don't believe in microphones (I could do a real rant on that one.) except for musicals when the effort to overcome the pit is simply too great and I use student choreographers whenever possible.

-------------------------------------------
Robert Smith
VA Co-Chapter Director
James Madison High School
Vienna VA
-------------------------------------------


Original Message:
Sent: 11-26-2014 10:34
From: John Perry
Subject: Professional Backdrops

While the idea of having student painted backdrops sound great, we all don't have a paint floor or any type of space to paint drops. I do what I can with student produced sets and hire assistance when I can.

But some questions come to mind:

Do you use microphones so the students are heard or make sure they can fill the house with their voice?

Do you hire a choreographer or is the choreographer student created?

What's the difference between using microphones, hiring a choreographer and renting drops?

-------------------------------------------
John Perry
Drama Instructor
Atherton High School
Louisville KY
-------------------------------------------


Original Message:
Sent: 11-26-2014 08:28
From: Richard Osann
Subject: Professional Backdrops

Hi Brian,
You sell us all short.  I teach at a fairly rural high school in Maine and am fortunate to have a decent stage for performance-many schools do not- but no shop space.  I am a professional scenic artist, once a member of USA 829, worked in NYC.  My students design our scenery and paint a lot, but we rarely do drops because we have no space.  We build our scenery on stage and in a neighboring classroom.  We have to go down the hall to the art or science room to wash our brushes. We would have to cancel rehearsals for a week for one drop.   I'm thrilled for you that you have the luxury.  Enjoy it!

-------------------------------------------
Rick Osann
Theatre Teacher
Standish ME
-------------------------------------------


Original Message:
Sent: 11-25-2014 09:38
From: Brian Gehrlein
Subject: Professional Backdrops

Fellow Theatre Teachers, 

I need to rant a little. Over the past few years I have seen an increased amount of the use of professionally painted scenic backdrops in high school performances. I don't know what it is but I cannot stand them. It makes me sad to think that students were robbed an opportunity for hands-on-learning. Why do some of us take the easy way out and make a phone call or an online click rather than inspiring students to create original technical elements for a show that they can be proud of?

Let's be honest. When we give 100% of the design and construction to students and guide them with our own limited skill set the technical elements might not be as sexy or professional. I get that. However, what are we teaching our students when we give up on developing their skills and just make parents and professionals build the sets, costumes and everything in between?

I think we should care about educational ownership. When we let go of our desire to control everything and have the best everything and give it back to the kids where it belongs something beautiful happens. They learn! They grow! They invest more and they create better theatre! 

If I just threw you and your artistic practices under the bus, I apologize. My goal was to point out this trend and caution us all, myself included. With how busy I am (and you are) sometimes it's really tempting to cut corners. We just have to remind each other that when we take those artistic short cuts in the name of a better show, the only people we hurt are our students. Aren't they why we get up and do this? 

Drops the mic...spotlight out. 





-------------------------------------------
Brian Gehrlein
Theatre Director
Liberty MO
-------------------------------------------

Why do I rent backdrops? Well, there are many factors. Do I have a desire to control everything? Like most directors, yes I do. After 20 years of doing non-educational theatre, I strive to put together the most professional production I can. I am a firm believer in setting high expectations. If we as directors and educators treat a show like its " only a high school show" then the students won't strive for anything more. Now, as an educator for 17 years (only the last 4 in drama), I also recognize the need for the students to have ownership and develop their skills. I resurrected a stagecraft class 2 years ago to help do just that. We are in a building that is school owned, but community run. We do not have the facilities to paint a drop. We are not allowed to paint anywhere except in a small loading dock or outside in the driveway where our sets are sometimes run over by cars. So when my students emerge from our black box to perform on the mainstage only once a year, yes I rent backdrops to highlight the wonderful sets my students have built and the awesome performances they have worked so hard on. I would love for my students to do more. I constantly struggle to get our facility to allow my students to be more involved with sound, lighting, and rigging instead of paying one of their techs to do it. At least when I rent drops the students get to help run the flys. So why do I rent backdrops? Just as you said, it helps to make the show something they can be proud of. ------------------------------------------- Sean Blauvelt San Luis Obispo CA -------------------------------------------
Original Message: Sent: 11-25-2014 09:38 From: Brian Gehrlein Subject: Professional Backdrops Fellow Theatre Teachers, I need to rant a little. Over the past few years I have seen an increased amount of the use of professionally painted scenic backdrops in high school performances. I don't know what it is but I cannot stand them. It makes me sad to think that students were robbed an opportunity for hands-on-learning. Why do some of us take the easy way out and make a phone call or an online click rather than inspiring students to create original technical elements for a show that they can be proud of? Let's be honest. When we give 100% of the design and construction to students and guide them with our own limited skill set the technical elements might not be as sexy or professional. I get that. However, what are we teaching our students when we give up on developing their skills and just make parents and professionals build the sets, costumes and everything in between? I think we should care about educational ownership. When we let go of our desire to control everything and have the best everything and give it back to the kids where it belongs something beautiful happens. They learn! They grow! They invest more and they create better theatre! If I just threw you and your artistic practices under the bus, I apologize. My goal was to point out this trend and caution us all, myself included. With how busy I am (and you are) sometimes it's really tempting to cut corners. We just have to remind each other that when we take those artistic short cuts in the name of a better show, the only people we hurt are our students. Aren't they why we get up and do this? Drops the mic...spotlight out. ------------------------------------------- Brian Gehrlein Theatre Director Liberty MO -------------------------------------------

A-men, brother. Why do people think that educational theatre and theatrical excellence are mutually exclusive? I just had an experience where my TD (new to the district) had access to some professionally made set pieces, which were indeed, beautiful, but taught my students nothing in terms of design or build.

There were opportunities for that, however: learning about how the professionals made the set and what it took would have still been educational, so one needn't throw out the baby with the bathwater. However, like anything, it is all about how the adult in charge leads the process.

I have learned from this experience to be more forthright and not be cowed by refrains like "Well, in professional contemporary musical theatre...". While I want my students to learn and yearn for the best, what we do is not professional since we are dealing with growing, maturing adolescents, not seasoned members of professional unions.

All aspects of educational theatre need to remember this, from tech to costume to direction: we are growing people, through theatre, who might end up in the field professionally but will most definitely look back on their time with us as a period of growth, support, nurturing and guidance.

Thank you, Brian, for that reminder.

-------------------------------------------
Lori Constable
Teacher; director of Drama
Independent District 112
Chanhassen MN
-------------------------------------------


Original Message:
Sent: 11-25-2014 09:38
From: Brian Gehrlein
Subject: Professional Backdrops

Fellow Theatre Teachers, 

I need to rant a little. Over the past few years I have seen an increased amount of the use of professionally painted scenic backdrops in high school performances. I don't know what it is but I cannot stand them. It makes me sad to think that students were robbed an opportunity for hands-on-learning. Why do some of us take the easy way out and make a phone call or an online click rather than inspiring students to create original technical elements for a show that they can be proud of?

Let's be honest. When we give 100% of the design and construction to students and guide them with our own limited skill set the technical elements might not be as sexy or professional. I get that. However, what are we teaching our students when we give up on developing their skills and just make parents and professionals build the sets, costumes and everything in between?

I think we should care about educational ownership. When we let go of our desire to control everything and have the best everything and give it back to the kids where it belongs something beautiful happens. They learn! They grow! They invest more and they create better theatre! 

If I just threw you and your artistic practices under the bus, I apologize. My goal was to point out this trend and caution us all, myself included. With how busy I am (and you are) sometimes it's really tempting to cut corners. We just have to remind each other that when we take those artistic short cuts in the name of a better show, the only people we hurt are our students. Aren't they why we get up and do this? 

Drops the mic...spotlight out. 





-------------------------------------------
Brian Gehrlein
Theatre Director
Liberty MO
-------------------------------------------

Brian--I agree with you in so many ways, but the reality for many of us is that our limited skill set is not what the community expects, especially in musicals. Much of the feeling is "what are we getting for our support?" and if the school system is giving you a huge budget, they want to SEE it, and no amount of explanation of royalty and rental costs is going to be enough.
Additionally, many of us do not have support from our colleagues, and that whole idea of working across curricula (the art department, etc.) is gone when we have to fight tooth and nail for the same students to fill our dwindling programs and prove to pencil-pushers that we are all important enough to maintain, even if there are only 10 students in the class. Add in that arts aren't tested on those standardized ones that districts need and it's a recipe for taking the easy way out. We have to look good, produce what the community and administration expect from a play or musical (based solely on what they have seen professionally) or we aren't worth the cost. And let's not talk about the community competitions among schools for the "best" musical, or play or actor, actress or set! They set us up to ignore those very values we should be teaching! There are so many factors working against us, especially in big productions, that the ownership and the delight of discovery is often lost for our students--and for us. 
We just finished our fall show--typically the time I get to let my students get those experiences, and my Stagecraft kids were thrilled to see "their" stuff on stage. I can't tell you how many of them said, "Oh, that's the way it was used! I didn't realize while I was making it!" So no matter how "unsuccessful" and "wasteful" the even might seem to outsiders, I'm counting it among my best success stories, just because the students took ownership of the entire technical production.
You do realize that we are preaching to the choir in many, many, many cases, right?

-------------------------------------------
Leslie Weinstein
Monongahela PA
-------------------------------------------


Original Message:
Sent: 11-25-2014 09:38
From: Brian Gehrlein
Subject: Professional Backdrops

Fellow Theatre Teachers, 

I need to rant a little. Over the past few years I have seen an increased amount of the use of professionally painted scenic backdrops in high school performances. I don't know what it is but I cannot stand them. It makes me sad to think that students were robbed an opportunity for hands-on-learning. Why do some of us take the easy way out and make a phone call or an online click rather than inspiring students to create original technical elements for a show that they can be proud of?

Let's be honest. When we give 100% of the design and construction to students and guide them with our own limited skill set the technical elements might not be as sexy or professional. I get that. However, what are we teaching our students when we give up on developing their skills and just make parents and professionals build the sets, costumes and everything in between?

I think we should care about educational ownership. When we let go of our desire to control everything and have the best everything and give it back to the kids where it belongs something beautiful happens. They learn! They grow! They invest more and they create better theatre! 

If I just threw you and your artistic practices under the bus, I apologize. My goal was to point out this trend and caution us all, myself included. With how busy I am (and you are) sometimes it's really tempting to cut corners. We just have to remind each other that when we take those artistic short cuts in the name of a better show, the only people we hurt are our students. Aren't they why we get up and do this? 

Drops the mic...spotlight out. 





-------------------------------------------
Brian Gehrlein
Theatre Director
Liberty MO
-------------------------------------------

I attempted to respond to this multiple times yesterday and just couldn't.  Your rant left me stunned...
What bothers me most are the grand assumptions and blanket statements in your tirade. 
You assume that anyone renting a drop is giving up on developing their student's skills.  

While I agree with your idea of educational ownership, I would like to point out that this ownership will look a bit different depending on the school, size of program, performance venue, budget, culture, etc...  To assume that directors are willfully hurting their students by renting a drop or any other "shortcut" without having the facts of the situation is grossly unfair.

Is this topic worthy of examination and discussion?  Absolutely! However, I would suggest that there is a professional way to engage colleagues in discussions of best practices.

Did you throw my artistic practices under the bus?  Nope.  I don't have a performance space big enough to hand a drop - rented or otherwise.

Aren't they (students) why we get up and do this?  You bet!  This morning I am worried about my students who couldn't come to school because they live in the community bordering Ferguson.  The rest of my time today will be invested in lesson planning for next week that will allow my artists an opportunity to respond to the real life issues my city is dealing with.

Mic? Spotlight? No thanks, I'll pass....

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Amy Learn
Ballwin MO
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Original Message:
Sent: 11-25-2014 09:38
From: Brian Gehrlein
Subject: Professional Backdrops

Fellow Theatre Teachers, 

I need to rant a little. Over the past few years I have seen an increased amount of the use of professionally painted scenic backdrops in high school performances. I don't know what it is but I cannot stand them. It makes me sad to think that students were robbed an opportunity for hands-on-learning. Why do some of us take the easy way out and make a phone call or an online click rather than inspiring students to create original technical elements for a show that they can be proud of?

Let's be honest. When we give 100% of the design and construction to students and guide them with our own limited skill set the technical elements might not be as sexy or professional. I get that. However, what are we teaching our students when we give up on developing their skills and just make parents and professionals build the sets, costumes and everything in between?

I think we should care about educational ownership. When we let go of our desire to control everything and have the best everything and give it back to the kids where it belongs something beautiful happens. They learn! They grow! They invest more and they create better theatre! 

If I just threw you and your artistic practices under the bus, I apologize. My goal was to point out this trend and caution us all, myself included. With how busy I am (and you are) sometimes it's really tempting to cut corners. We just have to remind each other that when we take those artistic short cuts in the name of a better show, the only people we hurt are our students. Aren't they why we get up and do this? 

Drops the mic...spotlight out. 





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Brian Gehrlein
Theatre Director
Liberty MO
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Thanks Amy, Your reply adds some more sense to the discussion. I have done countless number of shows. I have painted at least a dozen 40x20 backdrops. I have built catwalks and multi level sets. I have done much of this with my stage cru clubs. They range in age from 11 to 18 years old. I also work with adults. I am not trying to brag. I am just pointing out that after a few shows, a good designer would never take a solution off the table by blanket prejudice. I often get asked, "what is the right way to do such and such?" I answer the same each time. "There is no right way to do theater." My moto, "whatever works." There is just the best way right now. I think I've used every idea suggested in this thread. Yes, I have mic-less shows. Yes, I have mics and I use them in shows. Yes, I paint backdrops, yes I rent backdrops. Yes, I make my own flats and projection screens. Yes, I beg borrow and steal what ever is needed. There is no limit. The guy who started this thread cited that one approach is bad. In his mind, the bad approach is renting backdrops. OK, let's just not hire him - because we need people with broader minds on our calls. Other than that, I would guess that those who hate particular solutions, just haven't needed them yet. Story: I very much dislike doing shows in our dance practice room. But, the department head is the dance teacher and she is trying to get more budget for her space. Hence, we do shows in her space. What I do notice is that the extra hassles of working there pay off in training for my cru kids. The challenge of the bad space causes them to think differently. In the end I can support that. I might even use a backdrop in that space, one day. And by the way, I could put backdrops in any space. It may be a challenge, but it will work. I might need to invent a new solution, or even rent an existing solution. But, in the end, it will work. My 2 cents. Take it or leave it. Happy turkey, John

Spot on, John Hauer.
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Lori Constable
Teacher; director of Drama
Independent District 112
Chanhassen MN
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Original Message:
Sent: 11-27-2014 13:19
From: John Hauer
Subject: Professional Backdrops

Thanks Amy,

Your reply adds some more sense to the discussion.

I have done countless number of shows. I have painted at least a dozen 40x20 backdrops. I have built catwalks and multi level sets. I have done much of this with my stage cru clubs. They range in age from 11 to 18 years old. I also work with adults. I am not trying to brag. I am just pointing out that after a few shows, a good designer would never take a solution off the table by blanket prejudice.

I often get asked, "what is the right way to do such and such?"

I answer the same each time. "There is no right way to do theater."

My moto, "whatever works."

There is just the best way right now.

I think I've used every idea suggested in this thread. Yes, I have mic-less shows. Yes, I have mics and I use them in shows. Yes, I paint backdrops, yes I rent backdrops. Yes, I make my own flats and projection screens. Yes, I beg borrow and steal what ever is needed.

There is no limit. The guy who started this thread cited that one approach is bad. In his mind, the bad approach is renting backdrops. OK, let's just not hire him - because we need people with broader minds on our calls.

Other than that, I would guess that those who hate particular solutions, just haven't needed them yet.

Story: I very much dislike doing shows in our dance practice room. But, the department head is the dance teacher and she is trying to get more budget for her space. Hence, we do shows in her space. What I do notice is that the extra hassles of working there pay off in training for my cru kids. The challenge of the bad space causes them to think differently. In the end I can support that. I might even use a backdrop in that space, one day.

And by the way, I could put backdrops in any space. It may be a challenge, but it will work. I might need to invent a new solution, or even rent an existing solution. But, in the end, it will work.

My 2 cents. Take it or leave it.

Happy turkey,

John

The only thing I'd add to John's posting:
"I answer the same each time. "There is no right way to do theater."
Do it the safe way. I'm always thinking about my student's safety.

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John Perry
Drama Instructor
Atherton High School
Louisville KY
-------------------------------------------


Original Message:
Sent: 11-27-2014 13:19
From: John Hauer
Subject: Professional Backdrops

Thanks Amy,

Your reply adds some more sense to the discussion.

I have done countless number of shows. I have painted at least a dozen 40x20 backdrops. I have built catwalks and multi level sets. I have done much of this with my stage cru clubs. They range in age from 11 to 18 years old. I also work with adults. I am not trying to brag. I am just pointing out that after a few shows, a good designer would never take a solution off the table by blanket prejudice.

I often get asked, "what is the right way to do such and such?"

I answer the same each time. "There is no right way to do theater."

My moto, "whatever works."

There is just the best way right now.

I think I've used every idea suggested in this thread. Yes, I have mic-less shows. Yes, I have mics and I use them in shows. Yes, I paint backdrops, yes I rent backdrops. Yes, I make my own flats and projection screens. Yes, I beg borrow and steal what ever is needed.

There is no limit. The guy who started this thread cited that one approach is bad. In his mind, the bad approach is renting backdrops. OK, let's just not hire him - because we need people with broader minds on our calls.

Other than that, I would guess that those who hate particular solutions, just haven't needed them yet.

Story: I very much dislike doing shows in our dance practice room. But, the department head is the dance teacher and she is trying to get more budget for her space. Hence, we do shows in her space. What I do notice is that the extra hassles of working there pay off in training for my cru kids. The challenge of the bad space causes them to think differently. In the end I can support that. I might even use a backdrop in that space, one day.

And by the way, I could put backdrops in any space. It may be a challenge, but it will work. I might need to invent a new solution, or even rent an existing solution. But, in the end, it will work.

My 2 cents. Take it or leave it.

Happy turkey,

John

Good point,

Safety is part of every discussion, and every decision.

While running the risk of changing the subject, I will subject you to a short look at the process that may result in "any solution."

Wait, why don't I just start a new subject...

See:

"Design Process for our theater"

For the rest of this post.

John