BaileyKidsMusicals.com
Kid Tested and Parent Approved
  • Home
  • Betsy's Blog on Children's Theater |
  • Children's Musicals
  • Mini Classroom Musicals
  • Songs from Musicals
  • Featured Songs from Shows
  • Tips for Presenting Children's Musicals
  • Putting on a Show
  • Folktales and Superheroes
  • What People Are Saying...
  • Video from Musicals
    • Never Cry Wolf 2007 Video
    • A Successor to the Throne Provost 2013 Video
    • Parizade's Quest 2015 Video
    • Momotaro Summer Camp Video 2015
  • Photos from Productions
    • Photos from A Successor to the Throne 2006
    • Photos from Successor to the Throne 2013
    • Photos from Never Cry Wolf 2007
    • Photos of Never Cry Wolf 2014
    • Photos of Never Cry Wolf 2019 Summer Camp
    • Photos from Stone Soup 2012
    • Photos from Chicken Licken Summer 2014
    • Photos from Parizade's Quest 2015
    • Photos from The Ants and the Grasshopper 2014
    • Photos The Adventures of Dick Whittington 2016
    • Photos from Momotaro 2017
    • Photos from Chicken Licken Camp 2021
  • About Me
  • Contact Info
  • Never Cry Wolf Hair Style Ideas and Tutorials
  • Children's Picture Books
  • Christmas Nativity Script (short)

Blocking with the Audience in Mind

3/31/2022

0 Comments

 
Picture
Due to technical limitations, some schools find that they must do the Elementary School Musical the only way they can.  They rely on a few lead characters and a handful of narrators.  If they only have two stand up mics at the front of the stage, how could it be any different?  The rest of the cast becomes the ensemble.  That means they sing and dance, but don't play characters with featured parts.  What a shame!

But it can be worse to try to do a Musical with many featured parts, but with no way for them to be heard because there are still just a few stationary mics on the stage.  Even with some lavaliers on the main characters, the plot can still be lost for the audience.  That's where well-planned blocking and staging comes in.


Picture
The most important aspect of directing Elementary School shows is to play to the hard-of-hearing grandparent who is likely to attend.  Make every decision according to how that grandparent will be able to hear better or understand through movement and blocking to get  the gist of the story.  Gotta make it easy for them to "get it."

If there are only a couple of mics available, make sure the kid who is talking or singing is right next to one of them.  Make sure their crosses to get to the mics make sense.  Group the speakers so that they can easily and gracefully get to a mic before they speak, but have them at least try to "walk and talk" getting there.  Project!!  Use gestures!!  Pull focus!!!  Cheat out toward the audience!!  (I am convinced that most people need to read lips, gestures, and body language to understand actors on stage.)

Here is an acting game that can help acclimatize the children to working on the stage.  As they become comfortable, blocking will seem more natural and easier for the audience to follow.

"Freeze, Frame, Focus"
is an acting game used to help young actors learn about Planes, Proximity, Levels, Focus, and creating a good stage Picture. Being aware on stage how close the actors are to each other 
(proximity), how they are arranged in depth on the stage (planes), how they fill the scene without blocking each other (levels), how they can help throw or pull attention on the pertinent action or character (focus), and how to keep balance on the stage (picture).  

How to play:  Have the children walk around on stage filling it to the edges.  You may play music or give them direction to walk like a "robot," or "Lion," or some other character.  When you call Freeze, they all quickly assess where they are on stage. Then you call someone's name as the Focus child. 

Everyone else must make a good stage picture (Frame) focussing on that child. If they are standing tall in front, they should make themselves shorter and throw their arms out toward the Focus child.  If they are small in back, they should stand as tall as they can and throw their arms toward the Focus child.  All of the children should maintain good proximity so everyone can be seen.  They should also watch their planes, not bunching up, but filling out the scene.
0 Comments

Mini-Musicals for Classrooms or Drama Clubs

2/2/2022

0 Comments

 
Picture
A few years ago, I was hired to teach after-school Drama Club for a local public school.  The main goal for this after school program was to give students a variety of activities to fill their time as they waited for their parents to get off work and come pick them up.  Many of the children were only mildly interested in Theater arts, but they were interested in FUN.  So, my goal was to make whatever we did fun.

I had two classes one for 4-6th graders and the other for K-3rd graders.  The actual enrollment was a group of eight 1-2nd graders and a group of mostly 10-11-year-olds.  The older kids actually had a lot of interest and talent and was made up of a decent ratio of male to female kids.  The younger group had one boy and 8 girls and were basically non-readers with no previous training whatsoever.

My thought at what we would do in our Drama Club classes was just to learn skills and play acting games.  But the kids had a different idea.  They had seen the Musicals I had done at the school previously and assumed they would be performing a show.  I definitely had a problem.  What exactly could I do with these students that would seem like a show but not be a main stage production?

So, in desperation, I quickly wrote two mini-musicals.  "The Tale of the Country Mouse and the City Mouse" and "The Ants and the Grasshopper."  (What else could I do with one large boy and 8 little girls?)  We did do skill drills and acting games, but they were more interested in putting on a show.  So, that's what we focused on.  Simple costumes and rudimentary props and sets worked very well for an in-class recital.  The parents came and were suitably impressed.  And we didn't have to worry about sound and lighting.  Whew!

"The Tale of the Three Billy Goats Gruff" is another show that works well for an in-class production.  The intimate rainy-day-stuck-at-home theme is perfect for a small group and small audience.

"The Tale of the Musicians of Bremen" was another easy to produce mini-musical.  We elected to do more elaborate costumes and sets, though for this show.  My actors were older kids and they worked very hard in order to merit having extras.  The favorite song from that one was the one where we also played kazoos.

And if I were teaching Elementary Music again, I would make doing an in-class Mini-Musical part of the curriculum.  They are just so much fun!

0 Comments

The Auditioning Process

1/17/2022

0 Comments

 
Will 2022 be the year we can put on more Children's Theater Productions?  I know that many schools have been hard pressed to even cast their shows completely this year because of Pandemic problems.  And getting everyone to come to rehearsals has been rough.  But maybe by Spring, anxieties will ease.

In the meantime, many young hopefuls do not understand the Auditioning Process.  Some show up to auditions completely unprepared because no one told them what to expect.  
Other kids know to come with a head shot and a short resume' including personal information (age, height, grade in school, hair color, voice or dance training, a list of previous roles or plays they have participated in, etc.).  

​I have been known to have the unprepared kids just sing "Happy Birthday to You" in the key of F major.  The melody is known by nearly everyone and presents some telling problems.  The octave jump for example lets me know a lot about the kid's vocal range, quality, and ability to sing in tune.  Of course, I prefer children to come with at least 16 bars of a prepared song.  The song should be familiar, in a style matching the play (but not from the play), well suited to the actor, and have a copy for the accompanist in the right key.  

A memorized monologue is great to come prepared to perform, but is not always called for.  Some directors have the kids read a few lines from the script or recite a poem or Nursery Rhyme with some kind of affectation (sweetly, angry, agitated, poised, etc.).  The director wants to check for ability to show various emotions, project the voice, and observe how well facial expressions and body language can be read from a distance.

Then there will usually be a dance component.  The choreographer will take the kids in a small group, teach them a few steps, and watch them repeat it.  The director will be watching to see which actors have dance abilities or finds out what he can or cannot expect from his cast.
In lieu of a picture and resume', something good to do when auditioning for a show is to be sure to come to the initial audition and any call backs dressed exactly the same --- including hair-do.  And be sure to wear something unique --- like a bright orange shirt, colorful skirt or braided hair.  The director may see 100 individuals in auditions for one show.  Be sure to do something to make yourself easy to remember, within reason!  (Green locks or purple frizz might not work for a traditional show.)
Picture
Be aware that when a director looks to cast parts, he takes into consideration the physical characteristics of the people he sees, size relationships in particular.  But that also includes length of hair.  Once I cast a 12 year old girl in a lead role and assumed that with her long hair, she could easily wear it in a particular up-do style for the role.  When we started rehearsals, she appeared with a pixie cut.  She was definitely the right person for the role, but cutting her hair so dramatically made creating the proper "look" for her character challenging.  We finally decided that she could wear a bonnet and some hair extensions.  It was not the right look, but was the best we could do given the circumstance.  (This was for the premier production of "The Adventures of Dick Whittington")

​Because I typically work with very young children or first-timers, I often depend on Acting Games to help me cast the show, especially for a Summer Camp situation.  The right Acting Games help me get to know the kids and their abilities very quickly.  

​Oh, how I hope that we can do more Children's Theater soon!

0 Comments

Embellishment and Improvisation

12/9/2021

0 Comments

 
Having directed many shows in my life, I am always curious at how "live" theatrical productions can be so different.  Sometimes the contracts stipulate very narrow margins for the liberties the actors and directors can take with their interpretation of the material.  For example, Disney is very guarded with their products,  Other companies are not.

I went to a very delightful show last night "Chitty Chitty Bang Bang" at the Hale Center Theater in Sandy, Utah.  I was very curious about how they would make the flying car fly.  But they did it and it was amazing!  This must have been a very expensive show to mount.  The technical problems were enormous and then add to that lighting, costuming, crazy inventive props and set pieces, and then the doubled cast, choreography and costumes...  The list seemed endless.

But what made this show doubly delightful was how the actors were so skilled at improvisation and embellishment.  I doubt that the show has been even close to the same each night.  I even heard that one night, the lead actor playing Caractacus Potts convinced the actor playing Baron Bomburst to do something special for his daughter in the audience.  During the Birthday scene, he asked the Baron to get the audience to sing "Happy Birthday" to his daughter.  He did it without even interrupting the flow of the show.  Now, that's impressive.

These actors really knew how to work the audience for laughs.  Some of the scenes were just hysterical.  And again, I wonder how much of that was in the script and how much was improvised and embellished as the mood dictated.

These kinds of embellishments and improvisations are not what I can expect from my very young actors.  But I do like to practice acting games and exercises in the hopes that my little thespians can get a taste of working the audience for laughs.  It can be such fun!
Picture
0 Comments

Second Go Around

9/15/2015

0 Comments

 
Picture
Here we go again!  

Twenty seven 2nd Graders from Provost Elementary School are signed up to participate in an enrichment drama class culminating in a performance of
"Momotaro - a Tale of Bravery."  I met them for the first time on Monday.  The trouble is that I only get to work with them for 30 minutes four times a week for the next couple of months.  

The first order of business is to get acquainted with them.  I need to learn their names and faces very quickly and see what they can do.  Usually I start by teaching songs from the show and do some acting games and movement exercises to determine how to cast the parts.  It takes a little while to accomplish that, and the children are impatient to know their parts right away.  Hopefully I can finesse my way around that hurdle and keep them interested while I make some assessments.  It just does not work to simply look at the names on the roll and try to cast all of the parts!  (Although I did try that this afternoon.)

The students were introduced to two songs today.  So far so good.  They seem to be willing to sing.  They are not yet readers, so handing out song sheets is not a very good idea.  But they seem to be quick aural learners.  With just a few times through the songs, they were singing the tunes and doing some of the actions.  Words will come along better the more they get used to singing them.

This process is quite interesting for me.  I get to see the play I imagined come to life in a completely new way with each production.  These children will add a new dimension to the story and fill out the characters with their own inventions.  This will be the 4th time I have been privileged to direct and produce
"Momotaro - A Tale of Bravery."  The first time was when my youngest son was just 6 years old.  Now he's all grown up.  My how time flies!  With each new production, the children surprise me with their unique interpretations.  It is simply amazing.

Have I mentioned how much I love live theater?

0 Comments

Inventing Backstories

9/24/2014

0 Comments

 
This update on the progress of their show was sent in by the director of a Children's Theater Group in Alabama.  She encouraged all of the children to invent backstories for their particular characters.  Here's how they are doing:
Picture
"Things are coming along so well.

The kids have come up with some great backstories...Iris is Galatia's Great granddaughter. She has a baby that Galatia cares for during the dances. Galatia is 99 ( I know so old but I let them do this, and tried not to micromanage TOO much). She has a big thick walking stick.

The whole village, especially the women rely on the wool from the sheep to spin, weave and sew. SO, when the sheep are gone it means so much more than just the loss of the sheep, it is an economic loss for the whole village.

The wolf sneaks out and watches the sheep while they are dancing, he realizes that Galatia is no longer caring for the sheep, so he is always watching for his chance. It is so cute watching him slink around. We had to talk about how they CAN'T notice him, no matter what he does. He even mimes, (as he is mostly hidden behind some rocks) them a bit as they are doing the "Thieving Wolf Ballet". It was great in rehearsal, so I hope it will work!

Anyway, here are the images that a recent High School Graduate did for us. I sent the color poster, and the T-shirt image.

Thank you so much for writing these shows!"

Picture
These designs for their posters and T-shirts are wonderful! They were created by an 18 year old girl studying to be a graphic artist.  I think she has a very bright future!  

I just love what their promoters said on their Facebook invite:


"Sophie and I are so proud to be working behind the scenes on this fantastic production! The cast is extremely talented (already gotten goosebumps) and they happen to be adorable as well. So far, I can honestly say that the dancing sheep alone are worth the price of admission. Consider taking a night out and come enjoy the show! Live theatre for less than the price of a movie ticket....hard to beat an opportunity like this for family entertainment!!!"

It's like I have always maintained, the little dancing sheep in the production of Never Cry Wolf are the real stars of the show!  You just can't argue with cute factor!
0 Comments

Mounting a Mini-Musical

8/29/2014

0 Comments

 
In the theater world, we call the preparation, casting, rehearsing, and doing all things related to producing a musical play MOUNTING a production.  To put on a full-scale production or even a scaled-back production involves many elements and takes time and energy.

So, how much time should I allow to do all it takes to MOUNT a production?

That will depend on a few things: Schedule, Budget, Helpers, and the Stage, well actually, the availability of rehearsal and performance spaces. ​
PictureLambs with off-stage helper at the ready
           
Schedule - My rule of thumb for doing a 20-30 minute children’s theater production is to plan 20 to 25+ hours of rehearsal time.  For a longer, more complicated show plan 30-35+ hours at a bare minimum.  Now, MOUNTING a smaller in-class mini-musical with fewer complications may only take 6-10 hours of dedicated rehearsal/teaching time depending on how many extra teaching activities you want to include.  Plan the schedule very carefully to work the children in short segments.  Vary the activities every 10-15 minutes so that they stay invigorated through singing, movement, doing worksheets, thinking/memorizing/lecture time, and acting segments and still be able to get much accomplished in each session.

Budget – Most shows can be MOUNTED with any amount of budget depending on how creative the Director is.  Sets and Costumes can be very expensive especially when multiplied by the size of the cast.  Some productions do not absolutely require elaborate sets and costumes.  Find shows that have suggestions for alternate ways to MOUNT them.  Decide what you can afford and design the production accordingly.

Helpers – In order to do a musical, the main “helpers” are the Director, Assistant Director (or producer), musical director or vocal coach, stage manager, choreographer, costumer, and scenic designer, and they may even want helpers to help them.  If you do not have people to do these jobs, the few helpers available must do all of the jobs.  Depending on the size of the cast, try to use the 10:1 rule.  For every 8-10 children have at least one adult helper.  That way, the jobs can be equally divided and the children’s varied activities can be more easily managed.

Stage – “It’s all about the stage” or lack thereof.  In the theater world, this is a common mantra.  Creating the illusion of the world in the story is literally a function of the stage and its limitations.  Sometimes a show must be MOUNTED in a portion of a classroom with none of the conventional perks (lights, sound, curtains, backstage prep area, space, space, and more space).  Sometimes a show will be MOUNTED in a gym with a stage, but the stage still has few of the conventional perks. 

So, once again, the production has to be designed within the confines of the space available.  In order to be successful, Directors must be creative!  Sometimes the show won’t move to the stage until the last couple of rehearsals.  In order to effectively rehearse, the rehearsal space must closely match the stage dimensions.  Be sure to measure and set up barriers as necessary to make the practice space resemble closely the feeling of the actual stage.

So get out there and start MOUNTING one of the Musicals or Mini-Musicals on this site! 
Break a leg!

0 Comments

Endowing Characters with Unique Traits

5/7/2014

0 Comments

 
Picture
One of the most enjoyable parts of expanding and retelling a story through Musical Theater is endowing the characters with fun and unique traits.  As I was thinking about how to expand the cast for my new show "The Tale of Chicken Licken," I pondered how to add length and meaningful parts for a larger cast, say 20 to 30 children.  

The story itself only calls for six characters:
Chicken Licken, Henny Penny, Loosey Goosey, Ducky Lucky, Turkey Lurkey and Foxy Loxy.  (I decided not to use Cocky Locky because I had something else in mind for Mr. Rooster.)  In order to get a performance out of young children, they really need to have their characters brushed with broad strokes.  That is to say that any drama or comedy has to be easily understood and modeled from some performance they would have acquaintance with. It helps to be able to relate their actions, vocal inflections, and attitudes to characters they already know or are familiar with.  

Then you can help them dig deeper to bring out even more through their own gifts.  I decided to give each of these main characters alter egos from classic movies and TV characters - Lucy (Lucille Ball known for her physical comedy), Mae West (wise-cracking blonde bomb shell), Maverick (Western movie character), the Scarlet Pimpernel (English literary character), Sam Spade (savvy detective) and the Keystone Cops (hilarious physical comedians). Many of the mannerisms of these characters are much imitated in cartoons, and thus familiar when modeled for the children. The children would not know these characters by name, but the director should and thus have a starting point upon which to base the coaching.


The other difficulty with children's theater is creating a flexible cast with many parts that could fit either gender. Often, the girls outnumber the boys by a ratio of at least 2 to 1.  But occasionally, the boys will not only outnumber the girls, but outshine them, too, in talent and ability.  Since you never know exactly what the make-up of the cast will be for any given show, it is best to have a certain portion of characters that could be played by any age or either gender.  So, I decided that the population of this cast would consist of the common fowl found in the typical English barnyard - chickens, ducks and geese with their chicks, ducklings and goslings.  By using families of parents and children, that sets up familiar situation comedy to tap into.

In the youngest age group there will always be the children who want to be in a show because they love to sing and dance, but do not necessarily understand
how frightening it can be to be up in front of an audience.  Before actually casting a show for this population, I like to spend time doing acting games. Through observation of the childrens' improvisation, movement and interaction with each other I can usually tell which children will ultimately be too shy to actually perform and which ones are good candidates to actually come through with a performance.  Then I can cast with confidence the main characters and put others into groups where they can feel more secure.

Picture
I think my favorite new characters for this show are The Bluebirds - Dotty, Betty and Patty - loosely based on the trio singers of the 1940's such as the Andrews Sisters. They have the songs that move the story along and provide the narration for the story within the story.  They always stand wing to wing.  They move together, sway together, sing together and finish each other's sentences. They are jazzy and sophisticated and besides they are my favorite color.  

I guess they are really based on my mother and her sisters (The Thompson Sisters), and me and my sisters (The Lee Sisters).  If there are any characters that I happen to know well, it would be the Bluebirds!  It has been a delight writing for them!
Picture
0 Comments

A Song for All Seasons

11/6/2013

0 Comments

 
Ah, the High School Football season is coming to a close.  We are now into the play-off's.  Last year, my son's team won the State Championship.  So far, they are still in the running for this year's championship.  I wish them luck!
Years ago, my celebrated aunt Janie Thompson rewrote the lyrics to the chorus to fit Football and I added verses about Football fans as well as Baseball fans.  The little boys in my classes liked it a lot. Girls, too, although they were not generally as rabid of fans.  We had the kids choose which kind of fans they wanted to portray and divided the class as near to equally as possible.  The groups did actions and adopted attitudes to play-up the rivalry, then shook hands at the end to show that both sports are great fun!
Picture

Picture
That reminds me of an arrangement I have enjoyed using as a warm-up song for the kids in my youngest Musical Theater classes.  I took the song "Take Me Out to the Ball Game" and made it into a rivalry song between Baseball and Football Fans.  
On a musical note, this arrangement of "Take Me Out to the Ball Game" provides an opportunity to introduce changing meters to the class.  The chorus is in triple meter or waltz time with three counts to the measure.  The verses, on the other hand, are in duple meter or March time, actually four counts to the measure.  So, in the Chorus, I had the kids SWAY from side to side feeling the strong accent on beat 1 of the triple meter.  I had the kids MARCH in place or bounce up and down with hands on their knees to feel the 4/4 time.  

Although this may not be actual dancing, it is a good preparation for it.  Kids need many opportunities to experience RHYTHM and burn it into their very souls.  Then, later when they do need to learn choreography, it will already be second nature!

The great thing about this song is that it is appropriate for nearly any time of the year.  It seems that the Baseball and Football seasons overlap or are only divided briefly by Christmas and a winter hiatus.  What I have found is that Baseball Fans, as well as Football Fans, really are enthusiastic about their sports and have no need of a vacation from it!  So, that gives this little song great longevity!
  It's a song for all seasons!
0 Comments

Portraying a Cartoon Character

9/20/2013

0 Comments

 
Picture
My little girls loved to watch Disney movies when they were very young.  They loved to dress up in their "spin around dresses and click shoes" to dance to the wonderful music from those Disney shows.  When they were older, I determined to put them into ballet and tap classes.  The older daughter had the perfect shape for a dancer -- long legs and and thin torso.  She could easily do all of the dance steps and keep up in the class.  I couldn't wait for the next daughter to get old enough to start dance classes.
         
​Daughter #2 was perfectly suited physically for doing the dance moves, but in class, she just did not follow very well.  It turns out that her 4-year-old self thought she was doing everything as directed, but all we saw from the outside was a little girl standing there doing nothing, or coming in with actions and moves that were out of sync with the music and the rest of the class.  We thought that she had no sense of rhythm and was uncoordinated or something. Little did we know that her little brain was working overtime.
  She was deep in her own world in her mind doing the most marvelous steps. I worried so much that she was not ready, or worse, had no talent, that I elected to take her out of dance classes until she showed some promise.  We thought dance would just not be her "thing."
         
Years later, that daughter, developed many talents in singing, art, and drama, but especially in dance.  She loved to choreograph.  This is where her ability to imagine in her mind the movements of large numbers of people on the stage came in handy. She even decided to make human performance and dance her major in college.

         
One of the most interesting things she did during her college years was to work a season at Disney World "animating" or bringing the Disney cartoon characters to life. Because of her ability to choreograph and act, she was great at doing movements that were unique to the various characters she portrayed. Each cast member could portray several characters according to their height range and how they fit the costumes.  They also had to be able to master signing the autographs of the characters they portrayed.  This was a delightful adventure for her.

Picture
Picture
Picture
ANIMATING THROUGH MOVEMENT - On stage, actors need to be able to use their bodies to "animate," or take the identity and use appropriate movements for the characters they portray.  During dance warm-ups, a fun activity is to have the children do movements representing ANIMALS or other FANTASY CREATURES.  Have the accompanist play music that sets the mood for different movement such as "slow, lumbering" music for large cumbersome animals, "bouncy" music for monkeys, "slithering" music for snakes, "gliding" music for birds, "galloping" music for horses or unicorns, etc. Keep these snippets of music very short and changing after 8 bars or so.  Help the children use their entire bodies to give shape and movement to the creatures.  Let them make characteristic creature sounds, as well.  Remember to also feature FANTASY CHARACTERS, too, such as Robots, or Monsters, or Unicorns, or Fairies.
         
​Keep it fun and 
SHORT!
Picture

​The Duck Family has a very animated dance in "The Tale of Chicken Licken."  

They sing and do morning exercises to "Off to the Races."  They exercise to be strong and ready to always beat the Goose Family down to the lake to look for worms.

0 Comments
<<Previous

    Author

    My name is Betsy Bailey.  I have sung, written and taught music all of my life.  I enjoy writing and directing Children's Theater shows.  This blog will be directed to topics on creating the magic of Children's Theater.  I would love to hear your comments!

    Archives

    June 2022
    May 2022
    April 2022
    March 2022
    February 2022
    January 2022
    December 2021
    November 2021
    October 2021
    September 2021
    August 2021
    July 2021
    June 2021
    May 2021
    April 2021
    March 2021
    February 2021
    January 2021
    December 2020
    November 2020
    October 2020
    August 2020
    July 2020
    June 2020
    May 2020
    April 2020
    March 2020
    February 2020
    January 2020
    December 2019
    November 2019
    October 2019
    September 2019
    August 2019
    July 2019
    June 2019
    May 2019
    April 2019
    March 2019
    January 2019
    December 2018
    September 2018
    August 2018
    July 2018
    June 2018
    May 2018
    April 2018
    March 2018
    February 2018
    July 2017
    April 2017
    March 2017
    January 2017
    October 2016
    September 2016
    July 2016
    May 2016
    April 2016
    March 2016
    February 2016
    January 2016
    December 2015
    November 2015
    October 2015
    September 2015
    August 2015
    July 2015
    June 2015
    May 2015
    April 2015
    March 2015
    January 2015
    December 2014
    November 2014
    October 2014
    September 2014
    August 2014
    July 2014
    June 2014
    May 2014
    April 2014
    March 2014
    February 2014
    January 2014
    December 2013
    November 2013
    October 2013
    September 2013
    August 2013
    July 2013

    Categories

    All
    Acting Games
    Aesop Fables
    Age Appropriate Material
    Auditions
    Benefits Of Children's Theater
    Broadway And Movie Songs
    Character Values
    Chicken Licken
    Children's Chorus
    Children's Theater
    Choreography
    Christmas Nativity Pageant
    Common Core Objectives
    Costumes
    Costuming
    Dick Whittington And His Cat
    Disney Magic
    Drama Club
    Elementary School Music
    Elementary School Stages
    Family Fun
    Flexible Casting
    Folk Songs
    Funny Stories
    Getting Inspiration
    Improvisation
    Inspired Direction
    Japanese Folktale
    Lessons Plans
    Matching Pitches
    Mini Musicals
    Mini-Musicals
    Momotaro
    Momotaro A Tale Of Bravery
    Old English Pantomime
    Parizade's Quest
    Performance
    Resourcefulness
    Sets And Props
    Songwriting
    Stone Soup
    Storybooks
    Summer Theater Camp
    Tales Of The Arabian Nights
    Teaching Aids
    Teaching Singing
    The Boy Who Cried Wolf
    The Country Mouse And The City Mouse
    The Empty Pot
    The Musicians Of Bremen
    Writing And Directing Children's Musicals

    RSS Feed

Copyright: Bailey Kids Musicals, 2015