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For this strategy, think of your story linearly – beginning, middle, and end. Next, temporarily silence the audio, and focus strictly on the visual storytelling:  Enhance your blocking with the use of familiar, relatable gestures and physicality. Clarify your students’ acting choices with the physically-base d Laban Te chnique . Spice up your dance numbers by teaching your students various mediums of movement. As i conic choreographer Martha Graham famously said, “The body do

Sad to say, but our screen-obsessed culture has conditioned contemporary audiences to expect a shift in frame about every 3 seconds. This presents live theatre with a challenge: How do we capture and maintain attention in the stories we tell onstage ? A shift in frame every 3 seconds  is neither advisable nor possible in live the atre; so what can we do? For starters, as a blanket rule for your show, we recommend prioritizing   visual variety   in your blocking, staging, and

In her 2023 memoi r, Barbra Streisand says of Jerome Robbins,   ( FUNNY GIRL, THE KING AND I, GYPSY , WEST SIDE STORY ): “Jerry had a brilliant theatrical mind... He could expound on a character’s motivation, or pinpoint the wrong gel on a particular light.” Robbins was an enigma on many levels. He was widely known for his directing and choreography, but, as Streisand points out, Robbins was also knowledgeable in the technical arena. Expertise in technical theatre does not ty