When writing for children's theater or books or any show that requires creating characters, making them memorable is always a worry. It is helpful to have some model to go by --- a friend, coworker, family member, example from theater, and so forth. But you have to be careful to make give them their own originality. Even a stock player needs some unique qualities.
If, as a director, you are lucky, talented actors will show up for auditions and be able to imbue the characters with certain originality just by their own look, line delivery, and personality. Unfortunately, a writer has to give enough to the script to provide the actor something to work with. And then there's always the problem in Children's Theater with having many more females than males in the cast. It is wise to create the show with that in mind. Make sure the good parts are spread out with about a 2:1 female to male ratio. Always have great boy characters, but remember to make great girl characters, too!
Here in 2024, I am in that situation again. I am trying to write a script for a new show "The Frog Prince" where I expect 20+ girls to 10+ boys in my cast. I know many of the children who will enroll in my summer camp, so I can almost pre-cast the show --- BUT I WON'T. However, it is useful to understand what talents and capabilities I will be working with. I know where to set the ranges for songs. I pretty much can guess how simple or challenging I can make the lyrics or dialogue. And I can visualize much of the costuming, blocking, scenery, and even choreography for the dances.
This made me think of what I was going through nine years ago. In the winter of 2014-2015, I was writing a new musical. Just like now, I needed to find a show that could feature many female lead characters. Kerynne Vance helped me find a story and gave me other inspiration to model my characters after. She told me about the story of "The Speaking Bird." She said that it was a tale from the Arabian Nights stories that she had only just become aware of. She had been struck by the notion that it would make a great Children's Theater play or better yet, a musical. She liked the piece because it was not a romantic "love" story, but a reuniting of a family "love" story.
If, as a director, you are lucky, talented actors will show up for auditions and be able to imbue the characters with certain originality just by their own look, line delivery, and personality. Unfortunately, a writer has to give enough to the script to provide the actor something to work with. And then there's always the problem in Children's Theater with having many more females than males in the cast. It is wise to create the show with that in mind. Make sure the good parts are spread out with about a 2:1 female to male ratio. Always have great boy characters, but remember to make great girl characters, too!
Here in 2024, I am in that situation again. I am trying to write a script for a new show "The Frog Prince" where I expect 20+ girls to 10+ boys in my cast. I know many of the children who will enroll in my summer camp, so I can almost pre-cast the show --- BUT I WON'T. However, it is useful to understand what talents and capabilities I will be working with. I know where to set the ranges for songs. I pretty much can guess how simple or challenging I can make the lyrics or dialogue. And I can visualize much of the costuming, blocking, scenery, and even choreography for the dances.
This made me think of what I was going through nine years ago. In the winter of 2014-2015, I was writing a new musical. Just like now, I needed to find a show that could feature many female lead characters. Kerynne Vance helped me find a story and gave me other inspiration to model my characters after. She told me about the story of "The Speaking Bird." She said that it was a tale from the Arabian Nights stories that she had only just become aware of. She had been struck by the notion that it would make a great Children's Theater play or better yet, a musical. She liked the piece because it was not a romantic "love" story, but a reuniting of a family "love" story.
Shazelle, the Speaking Bird in her birdcage When I read it, I liked it because it had great elements that make for good theater: mystery, comedy, magic, fantasy characters --- and a bonus for children's theater --- the opportunity for good roles for more than one GIRL. A beautiful "weeping" Queen, a "lost" princess, a clever storyteller, two jealous sisters, Gypsy dancers, and the magical Speaking Bird.
This show became "Parizade's Quest."
Creating a fantasy character that must be acted by a human can be a daunting task --- unless you have a great model for inspiration. One of my friends has a bigger than life persona and a rare and unique personality. I informed her frankly one day that I intended to model a character for my new play after her. And, in her inimitable fashion, she answered, "Absolutely! I have always thought that I would make a great character. You'll have to invite me to see the show!" So, with permission granted, I set off to give Shazelle, the Speaking Bird the funniest lines and the sassiest attitude possible! Thank you, Anne-Marie St. Felix!
But, then there is the casting dilemma. As a director, you wonder if you will have a young actress come to audition with the talent and ability to pull off such a character. Fortunately, just such a girl showed up. Lizzie Jensen was perfect for the role. She summoned enough inner "sassy attitude" to play this over the top character and even learned how to do a tap dance routine for the Finale! Way to go, Lizzie!
This show became "Parizade's Quest."
Creating a fantasy character that must be acted by a human can be a daunting task --- unless you have a great model for inspiration. One of my friends has a bigger than life persona and a rare and unique personality. I informed her frankly one day that I intended to model a character for my new play after her. And, in her inimitable fashion, she answered, "Absolutely! I have always thought that I would make a great character. You'll have to invite me to see the show!" So, with permission granted, I set off to give Shazelle, the Speaking Bird the funniest lines and the sassiest attitude possible! Thank you, Anne-Marie St. Felix!
But, then there is the casting dilemma. As a director, you wonder if you will have a young actress come to audition with the talent and ability to pull off such a character. Fortunately, just such a girl showed up. Lizzie Jensen was perfect for the role. She summoned enough inner "sassy attitude" to play this over the top character and even learned how to do a tap dance routine for the Finale! Way to go, Lizzie!
Here are the two of them together after the last show of "Parizade's Quest." And as Shazelle, herself, says in the play, "Girl, I am here to make sure the story is told right! I am the magic and mystery! Comedy, too!" And she really was! This wonderful fantasy character was a pure delight! "And trust me, honey! I am telling the absolute truth!"
RSS Feed