If you are going to direct the musical you may find yourself doing most of the work, but a willing side-kick could make our job easier by tackling the sticky problems of budgets, negogiating with backers who might donate money, organising fund-raising, booking theatres and finding technical crew and volunteers.

You should consider the following production crew, though numbers will depend on the size of your production.

1. Director (you?) – responsible for over all organisation and training the actors.
2. Stage manager – responsible for theatre, staging etc.
3. Musical director – responsible for music and training the singers.
4. Choreographer – responsible for training the dancers.

These areas will overlap so you need people who will work together well.  Below are areas that will fall under them:

• Publicity, poster design, box office, tickets
• Actors, dancers ,musicians
• Set designer, set construction team
• Special effects design, tech director and crew
• Costume design, costume construction
• Wardrobe, dressers, make-up and wigs
• Properties storage and organisation
• Lighting design, electricians, sound desk planning/operating
• Conductor, accompanist, orchestra pit organisation
• Front of house, parent volunteers

School musicals remain an important part of the school calendar for many reasons. To name but three: they bring the whole school community together for a feast of celebration; they showcase musicals talent (children may discover talents they didn’t know they had); and singing, dancing, dressing up and becoming someone else, is a huge buzz.

The musical director has an enormous job and lucky are the schools that have their own performing arts programmes in place.  Often the music teacher or english teacher takes on the job and picking the right musical can be a nightmare.

Questions to consider when choosing a musical:

1. Will the school allocate enough funds to stage a Broadway blockbuster – the cost can run into thousands.  Musicals may cost upwards of $40,000 to hire!  If so, does the school have the necessary technical facilities required for the musical – many top musicals have very clear technical and artistic requirements.
2. Look at the number of children and talents available in your school.  How many will be involved?  What is the ratio of girls to boys?  Do you have the support for elaborate costuming, scenery and lighting effects?
3. What kind of musical would be appropriate for your school? Do you want a largely serious and intensely topical musical?  Or one with lots of humour?  What about balance of adult/child humour?  What musical will be age-appropriate?  Do you want a love story or a mystery?  Do you want an original musical or a spoof on a well-known musical or fairy-tale, such as Gilbert and Sullivan’s The Mikado?  Spoofs can be very effective and will-received.  Is your school looking for a special type of musical such as a religious musical, or a musical about the environment?  Will the style be pretty straight, or very jazzy or up-beat.  Will it have a mixture of styles?
4. What about the length?  How long should the run be?  If you work with a musical for 6-12 months, could you drum up enough enthusiasm for fill the theatre for several nights?  What sort of advertising would you need to achieve this?
5. When you have a short-list of musicals dig a little deeper.  Look at the songs – is there a good balance of fast, energetic to slow and thoughtful songs (if that’s what you want)? Are the lines easy to sing?  Do the words fit well to the music?

Above all remember that a musical is an expression of all we feel by being human.  It is a way of expressing our joy, sadness, fear, exuberance and even our frustrations.  It should be a worthwhile experience for cast and audience alike, so if a musical has nothing to say, leave it alone.

Musicals come in all sorts of shapes and sizes from the grand, almost through-composed, spectaculars of Stephen Sondheim to short 10 minute musicals for pre-schoolers.  But which comes first, the music or the script? Most often, especially if one writer does script and music, it is a bit of both with the outline script throwing up ideas and opportunities for music. But there are as many ways to write musicals as there are composers – each individually conceived and crafted, taking on their own shape.

May I suggest a formula to the aspiring primary school teacher, which may suffice for a more than satisfactory musical which will provide a great stage-experience for your pupils.  Let’s call it “add music and stir.”  There are only 2 steps in the basic beginner’s kit:

1. Write a cracker script, either original or based on a well-known story, full of humour, quibes, in-remarks and  in-jokes.  Use your imagination: use local knowledge, themes related to your school which you audience would understand. Perhaps humour related to teachers who would not mind!  The more the script can relate to your school the more successful it will be.  But take care. If you get it wrong it could be a costly mistake! Knowing how far to go is the answer. Get a trustworthy friend to vet it for you.
2. Add music.  How many songs will depend on the length of the musical. Very short musicals will only need a couple of songs. But a musical of 45 minutes to an hour will need from 8 to 12 songs placed appropriately.  Nothing is crazier than characters bursting into song for no reason.  The song should be related to what has just happened, or is just about to happen. Songs can be for soloist or for chorus.  If you are feeling confident go ahead and write your own.  It doesn’t have to be complicated, verse and chorus works well for juniors.  If you are not feeling up to it why not use ready-made songs that your children know or can learn quickly. WARNING – using modern songs may mean you are in breech of copyright.

Following this formula will give you a musical that the whole school will enjoy.  If you are up for it, this can be a very satisfying experience.  It will take time and effort, so start early and if you are writing this year, plan to perform next year. Good luck: remember just add music and stir!

A memorable time was had when the society decided to stage ‘Merry England’ by Edward German. You will easily be able to guess what the show is about and has in it not only characters from the Elizabethan era, but any character of note from before and just after. Robin Hood and Maid Marion, Elizabeth of course, Shakespeare, Bacon and others.

The set designer was new, and had some wonderful ideas on how to set the show. He decided upon a ‘box’ set. This is almost a continuous piece of scenery running around the back edge of the stage and is in 3 sections; a scenery wall to the left, a scenery wall to the right and a long scenery wall along the back of the stage. To complete the set he had a door right in the centre of the back wall. Now all this sounds good except for one thing. The whole set was dependent upon that door to stay upright – which must be left open for it to work. This clever device kept the whole set up and not falling forward onto the actors, the stage and anything else. The problems came when the set was finally completed which happened to be only minutes before the first performance. The actors would stride confidently onto the stage – usually through the door at the back, and would almost always SHUT THE DOOR! This called for sniggers at first from the audience and, as the show went on, open and derisive laughter. I can remember turning round from my position as conductor, and seeing several members of the audience, who had obviously had a ‘warming’ drink before the show started, actually lying in the aisle, tears streaming from their eyes, holding their sides with mirth.

I think the show was doomed from the start anyway. The director had decided that at Elizabeth’s entry, there should be a small boy scattering rose petals in her path. Now what could be dangerous about that? Nothing really until the well-meaning stage manager decided that the rose petals would look better if they had been moistened with water. As the young boy grasped the rose petals for the first time and brought them out of the basket they were clumped together! I remember clearly this sodden ball of vegetation heading towards the first violins in the orchestra. I wanted to shout, “Duck”, but unfortunately I was rendered speechless. The ball of petals hit the first violin music stand and the leader of the orchestra, who was easily in his seventies, almost died on the spot. He became a total nervous wreck from that time, and went on medication for the remainder of the season.

To finish off, literally, the opening night, the front of house people, in order to ensure a good first night audience, had decided to invite the local people from the hospital – which turned out to be an asylum for the mentally disabled. I was actually pleased and astonished to see a packed audience when I walked out to take my bow at the start of the show. Even the gallery was filled to capacity, not knowing that it was there that the people from the asylum were seated. The show had been on for a good half hour; there were actors almost being buried alive in scenery, and dangerous missiles flying around, and the people in the gallery were bored! It was at that point that the inmates decided to escape the confines of the hall – by climbing over the rail of the balcony and dropping the 5 metres onto the people below. This was the finish. It was not ‘Merry England’ anymore.

John Argyle

• Look at some of the songs that you sing with your students, or simple songs you could learn. Write a simple story to string these songs together. Split the story between children to read, and add songs at the appropriate time.  This can be performed:

1. Statically – class stand in lines – great for assemblies
2. With mime – also good for assemblies
3. With costumes and actions – any occasion

• Story with chorus of rhythmic speech – can be very effective performed in any of the above ways.  To kick you off, you might like to try the “raps” of Val Neubecker, http://madhattermusicals.com.
• Getting more adventurous: write your own play with as much humour as you can – find appropriate songs from any genre that you and your pupils enjoy. This is very effective but requires more preparation. You need to plan in advance – write and think through how the play could be performed. Learn the music through the term/semester/year in music lessons. Bring together for the big performance.  Beware some of your chosen songs may be under copyright,particularly modern songs, in which case you may have to seek permission.
• Choose a mini-musical from a publisher. This will cost, but not as much as you may think, especially original musicals that have not become Hollywood hits.

For beginners that may be as far as you wish to go. For the more ambitious teachers, why not encourage children to write their own music.  This can be as simple as you like depending on the abilities of the children. Even tunes that children write can be simply harmonised, a few instruments added and then put together into a short musical.

The main thing is to make a start. You will be amazed at the possibilities that open up, and the flow through into other areas of the curriculum. The hard work will feel very worthwhile.

This book is a director’s life and soul, listing directions, cues, stage diagrams and so on.  (If you order from Mad Hatter, ask for a director’s script copy as one of your extra copies – see article about copyright requirements).

If you have a script printed on only one side of the paper, make the facing blank page a place for staging diagrams.  This can be done quite roughly or by sticking in scaled diagrams which have been duplicated.  Then all movements can recorded and changes easily made.

When you first start studying the script, highlight all entrances and exits, action directions and character names.  Highlight all the cues in a different colour.  These can then be written into the musical score.  Each production team (for example lightning crew, sound engineers, props and stage crew) will need their own copies of the script with relevant directions.

As rehearsal continues, this book will be invaluable for making quick notes about everything: quick ideas, even small movements and actions, speech variations, gestures, noting staging changes, lighting needs, prop placements and use, and adding direct and indirect actions.
[direct actions are necessary for the plot, indirect actions are extra actions to flesh out the action]

Enter also warnings as necessary.  These are alerts for conductor/lighting crew/actors/sound crew and so on regarding important calls to action coming up soon.

Really the prompt book or director’s script is an essential tool for every director and will be found invaluable for making notes on everything pertaining to your production.

As publishers of school musicals we are often sent DVDs of musicals staged by hopefuls, wanting their musicals published.  Often, although the musical has potential, the production is abysmal – static placings with no action, bored and lifeless rendering of lines… If you would be bored watching the musical yourself, how do you expect audiences to react?  Sorry to say, you as the director will be responsible for bringing the script and music to life, even if you have very able people to work with you

Here’s a few points to consider:

1. How can I bring the musical to life, produce some magic moments and send the audience away happy, having fascinated them for a couple of hours?!
   • Study the script and highlight points you want to bring out or emphasize.
   • Make notes of anything that strikes you – ideas for staging a particular point, emphasis of words, inner meanings, ideas for setting.
   • Are there humorous bits that need special treatment?  Any gestures or words to emphasize, particular tone of voice needed, that strike you?  Any effects that would add to the excitement, poignancy of the scene?
2. When you have studied the script, take a look at the music and imagine how it will fit into the script and how you will lead into these songs.
3. Having acquired a good sense of the musical, audition the main parts, keeping in mind the important characteristics, voice-type and suitability  for each part.  Fine tuning these character tracts can be worked on later.
4. As you rehearse with the soloists you should firm up your ideas regarding staging and presentation. Work out how each line is best said, taking into account each child and their own input to the part.  Encourage characterization at a deep level.
5. Staging: As you start walking through the musical, staging becomes critical – every action should be serving the intention of the play.  But static productions should be avoided at all costs!  Make actions natural but larger than life, as the audience must notice every action and be able to empathize with each character.  Directions should be followed wherever possible, but do not be limited by the stage directions.
6. Songs: Solos and choruses need to be carefully prepared to make good sense of the words.  What actions should the singers do while singing? How about the dances?  Work carefully with the choreographer.
   • BEAR IN MIND: at times of extreme emotions we sing/shout/squeal.  Therefore singing is a natural extension of emotion.  In order to sound natural, songs should be approached with a certain heightening of intensity or quickening of pace. This leads into song and maybe dance.
7. Add the finishing touches that can make all the difference, sound effects (often included in the backing tracks) and the magic of appropriate lighting.

The successful musical is not just about picking an appealing musical, but about how your imagination can bring it to life!  To produce a musical of depth the successful musical has many layers added with love and concern bit by bit until you have achieved a satisfying whole.

Putting on a musical can be straight forward or really quite involved depending on the scale of the production and experience of the teacher. It is always hard work but can to extremely rewarding for both students and teachers. If you are new to it, start small, or rope in as many people to help as you can. There are a number of good articles and books on the subject if you wish to find out more.

Remember, although putting on a musical may be a good money raiser, it is really about highlighting children’s talents – and it is perhaps a good idea to make sure you have the talent to highlight before you begin! Being in a musical can be a defining moment in a child’s life.

Here is a brief outline of the process to get you started:

1.  CHOOSE THE TIME OF YEAR CAREFULLY

You need to start thinking about things well in advance. Many schools plan musicals 12 months in advance. You need to consider the school calendar, availability of staff and support. The most important thing you need is TIME!

2.  Research carefully – consider cost, suitable musicals for your school, suitability for your children. Draw up a short list. Most publishers will be able to help you with your choice and allow you to borrow musicals for perusal. This is a great way to get the feel of a musical before committing.

3.  When you have researched the feasibility, go public. Get the consent of the head teacher, make a final choice, secure the rights from the publisher and announce the result.

4.  Collect together your production team. Make sure your team is fully committed. You will need a musical director, director, choreographer, set manager who is responsible for set design and the building team, costume designer and co-coordinator, lighting and sound crew, backstage and scenery movers, treasurer, publicity manager, and so on. Choose reliable and competent people to organize these areas.

5.  Plan a realistic budget with your team. Consider fund-raising.

6.  Don’t leave any planning to the last minute. Advertising strategy should be thought through well in advance; consider where the musical will be performed as this will affect the production. Book the hall. How will the music be produced – live band, sound system – plan and make sure of the quality.

7.  Consider your children and audition for the main parts. Both singing and acting ability is important. Many schools have more girls than boys wanting to take part – how will you solve this?

8.  Hand out scripts to students taking main parts.

9.  Plan a rehearsal schedule and start rehearsals. Allow plenty of time for learning the musical.

10. Advertise for chorus members, again allow plenty of time for rehearsals.** Make sure each child has permission to take part in the musical which may mean quite a time commitment with extra out-of-hours rehearsals. Take details of every cast member. Hand out a rehearsal schedule which you have drawn up in consultation with your team and school administration.

11. Check everything is ready well before the first night! The lighting and sound needs rehearsing and should have final checks. Costumes are made and fitted, scenery is finished and stage crew have practised.

12. Tech rehearsal(s): Need to walk everything through a few times to check all elements fit together.

13. One or two dress rehearsals: makes sure everything is right and everyone knows what they are doing.

14. Final dress rehearsal should be 2 days before the show. This allows time to rest the voice and calm the nerves.

15. Opening Night.  To make sure the performances all run well you will need lots of parental help to cover all the tasks involved in performance. If organization is good everything will run smoothly and energy will be channeled into the show and it will be a great, enjoyable experience for the children.

16. After the show don’t forget to have a debrief with the children. It can be very interesting and enlightening for all to hear each other’s comments and feelings.

17. Carefully store resources and assess any royalties due to composers. These are usually forwarded through the publisher.

The musical itself can cost up to $40,000 to hire and obtain the performing rights.  Yes, you read correctly!!  A top show can be pricey but don’t despair there are plenty less well-known but excellent musicals that will cost a lot less and often allow you to make a profit for your school as well.

Here is a list of most of the items you need to cost realistically before you start.  You may be able to think of more so don’t under-estimate and allow a little more, just in case.

1. The musical – even a cheap one can cost several hundred dollar to obtain, including copying rights.  If you need orchestral/band parts whis will more than double the cost.
2. Allow for performance royalties, which are dictated by the publisher. Although these are usually paid after the show and can come out of box office takings, this cost needs to be listed.
3. Where will the musical be staged?  There may be hall hire fees for the performances and rehearsals.
4. Sets and props – even with talented volunteers there will be material costs etc.. plus any rentals required.  Cost correctly, don’t guess.
5. Costumes – hire or make?  At the very least there will be costs for materials.
6. Hire of instruments, musicians, sound equipment, technicians, lighting.
7. Printing of programmes, posters and tickets.  There may also be design costs.
8. Cost of on-the-night refreshments.  Food and drink will have to be bought.  How will it be funded?
9. Unexpected and easily forgotten extras eg. postage for publicity and ticket sales, insurance, outside professional help.

Now you have a budget and have allowed for the unexpected, before you frighten the school management, think of ways to cover these costs.  Here are some givens and possibilities.

1. Estimate ticket sales.  Try to be conservative.  You need to think of the worse possible scenario.  If you intend to have donation performances cost as zero.  What is a fair price for seats?
2. Try a publicity campaign to encourage sale of seats.  Try to sell as many tickets as possible before opening night.  Aim to sell at least 70% of seats for each night.
3. Is there a school budget for musicals/entertainment which will give you a starting fund?
4. Fund-raising activities?  Plan well in advance.
5. On the night – sale of programmes, refreshments.
6. Ask for donations of help, props, costumes etc.

A big component for the success of a musical is enthusiasm.  If you get the whole school community behind you, the enthusiasm will lead to much help and fund-raising opportunities.

I hope this helps to get you thinking about putting on a school musical.  Yes it is a lot of work, but the rich experience for all involved will hopefully live in the memory for years to come.  Good planning now will ensure this.

1.  Where do I get a musical?
That depends on your school, the age of the children and your experience and expertise of putting on a musical. If you and your children are experienced and have a large budget, you may want to go for a block-buster musical.  Copyright on these show can make them very pricey, with some costing up to $40,000 for hiring and rights to perform .  If this is not your league, consider looking at the original musicals on offer from the smaller publishing companies like ourselves.  Many of the musicals have similar stories and upbeat music.  They can be lots of fun, and cost a fraction of the above.  You would probably be looking at under $200 for hire/purchase of materials.  Our next article about budgeting talks in more detail about costings.

2.  What musical should I buy?
Take your time to look at the options sold by a selection of publishing companies. You will find a range of different types, styles, lengths.  Pick a short-list of musicals that you could live with, but that most importantly would suit your school, students and will be a contrast to anything already performed. What would appeal to students, parents and especially to yourself? Remember most musicals will need to be adapted a little.  When you have a short-list see if you look at these musicals on approval.  That way you can really check them out.

3.  What extras will I need to pay?
After your initial purchase of score, script and backing tracks you will usually need to purchase extra scripts and/or music to satisfy copyright.  This is very important for the livelihood of the composer.   In the days of the photocopier, it is all too easy to copy artists’ work.  This deprives writers and composers of revenue.  A compromise now allows purchasers to copy if they agree to buy a set number of copies.  This varies but is set by the publisher so it pays to check.  Often it will be a minimum of 5 copies.  Occasionally the copyright fee is included in the purchase price and will be clearly stated.

4.  Should I cheat?
You wouldn’t be human if you had not thought about not purchasing the extra copies but copying freely anyway.  Why not?  There are a string of very good reasons why it pays to be fair.  The best reason is that because of this sort of cheating, the music industry is in jeopardy.  Composers are finding it hard to make a living and are turning to other professions, and less music is being produced. This affects us all and we all suffer.

5. I can’t cope with the royalties – it’s all too hard!
The other component to be paid to the composer is the performance royalty, which is usually paid to the composer via the publisher after the performances.  This can worry some teachers so much that putting on a school musical becomes too hard and is abandoned.  There’s no need to do so.  Royalties are rather like tax.  We would all rather not pay, but when you get right down to it, you don’t pay tax if you haven’t earned anything.  Well, royalties are based on your takings.  if you don’t take much, royalties won’t be much.  If you earn more, more royalties are payable but it will still be you making a nice profit.  Royalties are about 10%-15% of your earnings.

So that’s it!  Buy some extra copies to cover copyright, and pay your royalties with a smile.  Our next article will have a more detailed look at budgeting for a musical.