#broadwayjunior

Being part of a pilot production of Mary Poppins, JR. meant figuring things out without the benefit of watching YouTube videos to see how other directors had solved the problem. The two biggest in this show were how to create Mary's "magical" bag and making her fly. My production director, Randi, cut a hole in the bottom of a travel bag, and my husband helped build a "trick dresser" with an open back and a hole on top with a little door that opened and closed from below. When Mary placed her bag on the dresser, a cast member sitting underneath the dresser opened the trap door and passed the items through the hole and up through the bag - magic! In terms of making her fly, we kept it simple and utilized the raked stairs in the house and had her simply walk up the stairs while we added some dramatic lighting.    The most useful wisdom I live by as a director is, “Keep organized.” I live by my to do lists, and that keeps each production on track. I also try to remain open to ideas - whether they are contributed by the team or by the cast. There are so many times when my cast members suggest things I hadn't thought of - and that collaboration keeps things interesting, fresh, and fun.  

I fell in love with theatre at a young age when my dad took me to see "Lend Me A Tenor" at the Papermill Playhouse. I never had so much fun in my life. I love how musicals bring all artistic pursuits together into one final collaborative product the kids will remember forever. Advice that has helped me as a director is “take everything one step at a time. And everywhere you are is where you are supposed to be.”

I don’t have a specific MTI title to recommend for a new director as every junior title I have directed has been a hit. (Fame JR., Legally Blonde JR., Xanadu JR.) I love that the backing tracks are high quality and the student scripts are durable enough to last through all the rehearsals. The show-kit really is a musical in a box. I feel like a little kid on Christmas when the box arrives! I flipped the cafetorium to accommodate the Xanadu "roller disco" feel so a majority of the play was acted in the house. The audience was in the round set up in quadrants and the bulk of the performance took place in the center of the house while the skaters traveled around the audience. Only 3 scenes utilized the proscenium; the Andrews sisters half of "Dancin’", Danny's office, and Mt. Olympus. My students learned how to act in the round and I was able to accommodate a large company of 76 students. Plus we sold finger lights as a fundraiser to the crowd so the audience was in the show!

I've always been on the fringes of theater, performing on stage as a kid, then again as a young adult, but always getting pulled away. The previous art teacher at our school, Melia Scranton, was a huge inspiration. I worked on plays as her AD for several years, and she provided me with the training and confidence to direct one myself.  The most useful tool or wisdom that helps me as a director/producer is knowing that yes, the kids will do it and come through. It gives me the confidence to know it will come out looking great. A piece of advice I would give a new director is “just because you think the kids might know the story doesn't mean it will be easier!”

One way we made staging The Lion King JR. was coming up with a solution of using generic tunics and then only slightly dressing them up to give the essence of the animals, rather ,then spend time working to make the costumes very elaborate

I began theater when I was four years old. I was an Oyster and the Jack of Clubs in Alice in Wonderland (my one line was "We're playing hearts!" with a card friend!) I have continued passing on my love for theater to others since! I wrote and produced original musicals between 2002 and 2008. Poison Apple featured our first licensed MTI musical in 2008 - Jungle Book KIDS. 

I find the most useful tool or wisdom that helps me as a director/producer is writing everything down (choreography, blocking, props needed etc) in rehearsal reports, and building proper communication with cast and crew. Also, having a "getting the rooms attention" tool (if you hear my voice clap once, quiet coyote etc." works really well.  I would recommend A Year With Frog and Toad KIDS as a good first MTI musical for a new director. There is great music, simple set and costumes, and a GREAT message of friendship! A piece of advice - figure out your connection to the piece you are working on, and be sure you share that positive love with your cast. Being inspired together breeds positive creative juices that are sure to get everyone working together towards the common goal of performance!

I have loved the theater my whole life. I was involved in musicals growing up and attend a lot of local productions of music theater. I fell into the job of directing my first musical. I was hired at this school that had already set the tradition of presenting musicals. The wisdom I rely on most with my production is “be creative with your presentation.” Don't be limited by what you see from other organizations that put on the same show. Craft the musical to fit you and your students. Some of my favorite productions that we've done have been The Little Mermaid JR. and The Lion King JR. I would advise anyone doing these to start earlier than you think you need to in order to get those costumes done!