So You're Producing a Play...

First, CALM DOWN! Let's walk through it together

If you've just signed up or volunteered to produce a play - you are in for a ride - and a treat!

STEP #1. GET A CLEAR UNDERSTANDING OF EXPECTATIONS

Many companies will view "producing" differently. I have worked with theatre companies who have assigned the producer to look after budgets and make sure no one is overspending. I have also worked with a company who wanted the producer to worry about all the paperwork for the production including posters, programs, tickets and advertising. Often being a producer entails working with budgets and monies for the show including theatre rentals, rights applications and honorariums/actor pay. All companies are different so make sure you know what is expected of you so you can meet and exceed these. 

 

STEP #2. ENSURE ALL DUTIES ARE LOOKED AFTER

As a producer, some or all of the following duties may be left up to you. Go through this list to make sure you or someone else is looking after it. Having a list on hand with a list of duties assigned to individuals is also a great way to encourage accountability in your cast & crew.

• Theatre rentals: payment for the stage, rules and regulations of the theatre need to be communicated to cast & crew.
• Rights/Royalties: for script (paid through publisher of the script usually [ie. Samuel French].
• Auditions: Dates, times, location, press release, organization (group auditions vs. monologs).
• Callbacks: Call/email actors after auditions to let them know whether they have been cast or not cast (it is a common courtesy to call either way so that they know for sure one way or the other and aren't left sitting on pins and needles waiting to know if they got a part or not)
• Schedules: rehearsals, theatre move-in day(s), technical rehearsals, dress rehearsal, fight warm-ups & drills (if necessary), call times before shows, strike (stage clean-up after last show).
• Paper Stuffs: Use/Select/Create an image that you can use on all paper products regarding the show. This will ensure people associate the production with the image so by the third or fourth time they see the image, they remember what production it is and won't want to miss it! Paper stuffs may include: posters, hand bills, tickets and programs. Media releases and teaser/trailers are also a great way to get word out about your production.
• Contact Information: It is important to always have on site of rehearsals a copy of everyone's contact information (often the stage manager will take care of this). In addition, email everyone a digital copy via email.
• Crew Members - Get people on your team to take on these roles: Director, Producer, Stage Manager, Assistant Stage Manager (if needed), Stagehands, Makeup, Set Design, Tech [hanging, setting and running lights and sound], Costumes & Props.
• Production Meetings: Scheduled once a month during the rehearsal process (or less/more depending on what is agreed upon by the crew and team) to discuss budget, media, promotion, etc. At the first meeting, delegate tasks to members of the team. You might be tempted to control everything and do everything yourself - DON'T! You'll burn yourself out and be of no use to anyone in no time at all.
• Social Media: This is SO IMPORTANT in creating awareness for your production! Create Facebook events for auditions and showtimes, a Facebook group for the production team and another group for cast members. Twitter or Twitpic are both great for sending quick updates about what is happening at rehearsals. If people care about the actors, care about the production and feel like they are a part of it - they are more likely to buy a ticket. Use social media platforms to create games or contests where people can interract with members of the cast or crew for a chance to win tickets. This is great promotion!
• Budget: Before anything is paid for or purchased, the production team need to agree upon a budget. This amount will include monies set aside for: theatre & equipment rentals, fight/dance choreographers, photographers, voice coaches, set design, honorariums/payments to cast/crew, promotional material, tickets to be printed, set and costume, makeup, etc. MAKE SURE EVERYONE WHO BUYS ANYTHING KEEPS THEIR RECEIPTS*COLLECT THEM AND KEEP THEM TOGETHER*

STEP #3. DO SOME RESEARCH

As this role is so versatile, do some digging and find out how others do it. Some resources can be found here: http://produceaplay.com/home, http://www.wikihow.com/Produce-a-Play, http://www.writewords.org.uk/articles/theatre1.asp, http://www.ehow.com/how_7732969_produce-stage-plays.html

 

STEP #4. COMMUNICATE!

You are not alone. You have (or should have) an entire team to help, guide and support you through this process. Encourage your team to have open communication with each other (this does not mean gossip). Ensure everyone is on the same page throughout production and don't hesitate to lean on each other or ask for their assistance. If you do find yourself hesistating to approach members of your team, try and uncover the reasons for this as a conversation may need to happen to discuss expectations and working as a team.

 

STEP #5. HAVE FUN!

So many people overlook this one but it is so important. It is easier to be a drill sargeant, yelling orders at people telling them what to do and when than to lead a team. Be firm but approachable, encourage teamwork and open communication and don't forget to let loose and have some fun!



Drama Games & Activities for Kids, Teens & Adults PART 2

Theatre Games, Activities & Trust Exercises for Kids, Teens & Adults [PART 2]

PHOTO CREDIT: Aliana ~Theatre Lover~ & http://flashmobsintheclassroom.blogspot.ca/2013/04/how-to-unite-cast-of-your-high-school_3.html?showComment=1391724459155#c7817831197284516316

 

Before you can play, rehearse, learn or build a production/performance - you need to build trust. 

 

These activities are some of my personal favourites whether I'm working with children, teenagers or adults in pairs or groups.

 

Before starting any activity - always state the purpose of the exercise (ie. voice warm-up or letting go of inhibitions) and conduct a quick "check-in" with members. After introducing the activity, ask each participant to briefly express how they are feeling and the kind of day they had. This is important to do in order to have a sense of everyone's mind space before starting. If someone had a bad day, they might not be as energetic or enthused where someone having a great day may have difficulties focusing and paying attention.

 

I hope these games and activities will help you in building trust amongst team members, classmates or a production cast & crew.

 

#7. PROPS/ quick-thinking, creativity, imagination & thinking outside of the box

• Form a circle either sitting on the floor or in chairs
• Place one or two identical but random objects (ie. gloves or fridge magnets) in the center
• Go around the circle having each person go up to the objects and use them in a scene as something else (ie. gloves as shoes)
• Encourage everyone in the group to get up and approach the objects quickly and come up with something on the spot.
• Change things up by having people get up and approach the objects in a random pattern rather than taking turns going around the circle.

#8. MYSTERY SHOPPER/ acting in the moment and using body language to express intent

• This activity works best in pairs
• Person A pretends to be a cashier at a store
• Person B portrays a customer
• B approaches the counter and speaks to the cashier about purchasing a specific item
• THERE'S A CATCH! - B can only speak in gibberish
• A needs to try and understand what it is B is looking for
• The scene is over when A correctly guesses the item and cashes the customer out

#9. WALK! WALK! WALK!/ situational comedy, group work, imagination and warm-up

• In this activity, the entire group follows one leader
• TECHNIQUE #1: the Leader walks around the room and everyone else copies their walk
• TECHNIQUE #2: the Leader specifies that everyone should walk like someone or something (ie. the Terminator or a duckling)
• TECHNIQUE#3: the Leader asks the group to walk around the room as if they are walking on a specific surface (ie. glass, ice or fire)
• In all these instances, the leader could be a student, group member or instructor

#10. FORTUNATELY-UNFORTUNATELY/ teamwork, pairs & improve

• Divide the group into pairs
• The scene begins with one person starting a sentence with "Fortunately...."
• The second person responds by saying a sentence starting with "Unfortunately..."
• The scene continues with one person always saying "Fortunately" at the beginning of everything they say and the other person always saying "Unfortunately"
• After awhile, switch up who says which word
• (ie. "Fortunately, I caught the bus on time." "Unfortunately, the bus got a flat tire." etc.)

#11. BETWEEN THE LINES/ writing exercise, self-exploration, trust-building & group support

• This exercise requires each individual to have a notebook or scrap paper and something to write with AND music that can be played helps in creating a safe atmosphere
• Have everyone sit someone in the room in their own space
• Each person has the length of one song to write a note or letter than is specified by the instructor.
• These may include: Things I Like, Dear Self, I'm Afraid of..., I Wish, I Hate, I'm Sorry..., etc.
• As soon as the instructor delivers the starting line or subject, the song is started and the participants have until the end of the song to write.
• Encourage everyone to continue writing until the song ends.
• This is a great exercise to get people out of their minds and opening up to others
• Writing in a way that is not "judged", or checked for grammar or ideas of right & wrong is freeing. Ensure everyone feels safe to write away without holding back.
• This is a "rambling on" activity done with a pen instead of talking

 #12. SNAKE/ touching, trust, body movement & body language

• Establish a starting point and finish line (ie. this wall to that line or vice-versa)
• Have the participants form a line
• The first person touches the starting line with their body somehow and creates a shape with their body
• The next person touches the first person somehow and creates another shape that is different in levels, shape, silhouette, etc.
• This continues until a person on the "snake" touches the finish line
• This can be done with small groups and the last person leap-frogs to the front when it is their turn again
• CHANGE THINGS UP - give the participants a word they can use as inspiration for their shapes (ie. water, fire, monkey, Summer, etc.)

FOR MORE GAMES & ACTIVITIES ~ CHECK OUT PART 3!

(coming soon)

Drama Games & Activities for Kids, Teens & Adults PART 1

Theatre Games, Activities & Trust Exercises for Kids, Teens & Adults

Group Activity with www.Murderforhire.ca PHOTO CREDIT: Heather May

 

 

 

Before you can play, rehearse, learn or build a production/performance - you need to build trust.

 

These activities are some of my personal favourites whether I'm working with children, teenagers or adults in pairs or groups.

 

Before starting any activity - always state the purpose of the exercise (ie. voice warm-up or letting go of inhibitions) and conduct a quick "check-in" with members. After introducing the activity, ask each participant to briefly express how they are feeling and the kind of day they had. This is important to do in order to have a sense of everyone's mind space before starting. If someone had a bad day, they might not be as energetic or enthused where someone having a great day may have difficulties focusing and paying attention.

 

I hope these games and activities will help you in building trust amongst team members, classmates or a production cast & crew.

 

#1. TOUR GUIDES/ trust, improv, thinking on your feet, action & reaction

• Each member of the group takes turns leading the rest of the group on an imaginary tour through a place or environment of their choosing.
• The tour guide might travel across the moon, through an ocean or on a famous movie set.
• The guide might say things like "If you look to your left, you'll see a hot dog riding a bicycle." etc.
• Encourage members of the group to react with whatever is stated by the tour guide.

#2. PAPER BAG CHARACTERS/ improv, imagination and creativity

• Have each participant bring an opaque paper/plastic bag/container to class with 3 random items inside (make sure you cannot see through the container)
• These items might range from a lipstick, eraser, key, shoelace, pencil, etc.
• Put all the containers with the items inside in a pile or line
• Have each participant choose a bag (not their own) at random
• Each person must come up with a character, connection to the objects and story to present to the group
• They could present their character to the group AS the character for added interest

#3. TWO-LINE SCENES/ improv, accepting others' ideas, team support and imagination

• Separate the group into pairs
• Each group is given two words or statements (ie. "Have you seen it?" and "Oh my!")
• Have the pairs come up with a short 0-1 minute scene using only these two statements/words
• With older groups, you could choose to perform these scenes on the spot without rehearsing

#4. ONCE UPON A TIME.../improv, imagination & creativity

• Have everyone in the group exchange a personal item with someone else in the class
• These items might be something they have with them OR a random item that they were asked to bring with them
• Each person creates a story to go with the item and presents it to the group
• Though person A's ring might have been given to them by their mother - person B presents a story they made up starting with "Once upon a time..."
• Encourage the participants to think about where the object came from, who it belongs to and why it is so important

#5. GROUP SNAPSHOTS/ tableau, freeze, body awareness and teamwork

• This activity requires a camera or camera phone (but camera is best)
• Have everyone in the group work together to create a scene then freeze in place to take a picture
• Examples: audience applauding a celebrity, group bullying someone, people telling secrets, people plotting against someone, a magician performing a magic trick, opposing teams, etc.
• Print these pictures for the next class and tape them up somewhere the group can see
• Ask each individual to take one of the photos and create a story/scene which explains the picture
• If you don't have a camera, you could perform this exercise in front of a mirror so the group can see what they look like
• If you have access to lights, you can use them to create interesting effects and moods

#6. SHORT SCENES/ improv, teamwork, accepting ideas of others and character-building

• Split the group into pairs or groups of threes
• Ask each group to come up with 3 things: characters, a problem and how the problem gets resolved
• Perform short scenes which clearly #1-introduces the characters #2-exposes a problem #3-resolves the problem
• Ie. #1-Mother & Daughter #2-daughter got nose pierced & mom disapproves #3-daughter gets grounded OR #3-daughter convinces mom to have her nose pierced
• These scenes can be rehearsed and then performed (with younger participants) or delivered on the spot using improvisation

FOR MORE GAMES & ACTIVITIES ~ CHECK OUT PART 2!

 

 

 



 

Time Flies When You're Having Fun!...

...and boy have I ever!!!

 

Photo Credit: Jeffrey Reed

 

 

It is hard for me to believe that my last post was in February of this year - WOW!

SO, before I get into some wonderful news about upcoming workshops at the Grand Theatre in London, Ontario and auditions for a comedy in January - let's catch-up a bit.

 

Let's start at the beginning.

 

I directed Swing Dance at the Palace Theatre in February, 2013 and we had a blast! 4 actors (plus the chicken delivery boy). A play about 2 couples getting together for dinner to discuss a Swing Club. Only one couple thinks they're talking about a dance club and the other couple is talking about a Swinger's Club! So funny!

 

 

 

I was a member of the GAB Artists Collective at the Grand Theatre working with the talented Jack Grinhaus from "Bound to Create Theatre". While there, I had the opportunity to watch each mainstage production at the Grand Theatre for the Season and give feedback in an open discussion group with the audience and fellow GAB members. This truly was a learning experience and I am very grateful for having the opportunity to be a part of such a group.

 

 

 

I designed and painted a skate which sold for over $300 at a fundraiser for the Arts Project Gallery & Theate in London, Ontario. It was signed by the competitive Olympic skaters, Aliona Savchenko & Robin Szolkowy.

 

 

 

I portrayed a character which eventually was diagnosed with Cancer and past away in a production of "Delilah" which was a very powerful, challenging role that will forever hold a special place in my heart. Special thanks to the playwright, Len Cuthbert and director - Desiree Baker.

 

 

 

I went to Vegas with my husband (which I never thought in a million years would be a place I'd want to visit) and we actually had a lot of fun.

 

 

 

I directed "Six Funny Ladies" in May, 2013 which was presented at the Arts Project and taught me a lot about casting, trust and having a crew you can depend on. Todd, Kevin & James - the show couldn't have happened without you!

 



Photo Credit: Rob Cousins

 

I participated in the Corporate Challenge Fundraiser for the Sunshine Foundation with the Murder mystery Troupe I work with , |Murder for Hire. Check-out the company website and contact Kay Rogers if you are interested in acting with the group! www.murderforhire.ca

We have a blast every year and This year, we were in the top 3 fundraising groups! Whoot!

 

 

 

I was an extra in a country music video for the song called "Farm Boy" by the River Junction Band. Check it out and see if you can spot me ;) I'm about 1min & 14 seconds in sitting between the 2 guys. http://www.monologuegenie.com/serial-dater-monologue.html

 

I was also in a commercial for a new Bingo game called "Taptix" - I'm the girl whistling ~ check it out! http://www.youtube.com/watch?v=mbPEP-Y3j94

 

I started a 3-5 year program at Fanshawe College for Landscape Design. I know. I must be crazy!

 

I played several characters in the original play called "All Aboard" written by Dr. Colin Forbes about his years as a car porter on the Canadian National Railway in the 1940's. What a blast! I loved playing so many characters and switching from one to the next quickly by simply changing hats. It was a blast! Enjoyed working with the cast and the talented director, Jason Rip.

 

Photo credit: Ross Davidson

 

 

I was cast as two different characters in a film called "Terry's Car Gets Stolen". I had a blast working with the crew! I got to play a hippie and an undercover "dancer". So much fun! Check out the trailer, info and pics here: http://www.indiegogo.com/projects/terry-s-car-gets-stolen

 

I attended a production of "1-900-DEE-LITE" in Aylmer, Ontario and I loved it! Very funny script about a mother who works as a "phone sex operator" to pay the bills. Super funny! Great job Kevin and Laurie on your performances!

 

I saw a production of "TOMMY" in Stratford and I think it is possibly the second best play I've ever seen next to a production of Peter Pan I saw in Niagara-on-the-Lake at the Shaw Festival Theatre. If you have the chance to ever see this play - GO!

 

I just finished directing an original script called "DUEL LOVE" at the London One Act Festival which won Best Actor, Best Supporting Actor and Outstanding Production. Alan Sapp was the adjudicator this year and I feel I learned a lot from his adjudication and workshop. We also got a special mention for our "screaming man in the shower" and our princess who was a "nice piece of A**" (which is what the card read - prob'ly filled in by a friend of hers). Princess Bride meets Monty Python in this extreme comedy and we had a lot of fun putting it on. Hopefully, this play will come back as a film or a full-length play in the years to come.

 

 

 

NOW that everyone's updated as to why I might have been a bit distracted from my blog posts - here's what is coming up!:

 

A Workshop is coming to the Grand Theatre at the end of this month by Theatre Ontario. Get your tickets and attend this if you can! http://www.theatreontario.org/programs-and-services/courses-and-workshops/collective-creations.aspx

 

AUDITIONS for the next Maybles' Productions will be held in January for "SYLVIA" written by A.R. Gurney. This play requires FOUR actors (2M & 2F). The roles are as follows:

1 male actor ages late 40's-60's, busy business man at the onset of a mid-life crisis

1 female actor ages late 40's-60's his wife, career-oriented

1 female actor ages 20-early 30's, young and attractive, physical comedy and ability to move & sing are required

1 male actor ages 20-60's, must be able and willing to play a man, a woman and an individual who's gender is unknown.

This is a comedy about a man, his wife and the dog that comes between them. Comedy with a touch of heartfelt compassion - this play will have something in it for everyone!

 

Until next time, stay funny!

 

-Heather May

 

 

 

 

 

 

 



Swing Dance

~Another one done which will forever hold a special place in my heart~

~all photographs courtesy of Ross Davidson~

This play written by local playwright, Lynda Martens was an absolute gem to direct.
This was the World Premiere of "Swing Dance" and only time will tell where it goes next.
It was produced by London Community Players in Procunier Hall at the Palace Theatre in London, Ontario.
It ran from February 7th - 16th, 2013.
It had it all! The characters were believable, their plight was heartfelt and the situations they encountered were ones the audience would NEVER wish to be in themselves.

Vicky and Walter have been married for close to 40-ish years. During this time, Vicky has stayed at home. She's done the laundry, raised the kids, cooked the meals and kept the house clean. All the while Walter went to work each day. Now, Walter is retired, the kids have moved out and Vicky has started her own business. Suddenly Walter doesn't know what to do with himself and decides to make the rest of his life about Vicky and wants to spend every waking moment with her.

Without giving too much away, Walter takes drastic measures to get closer to Vicky - pharmaceutical measures. But Walter has forgotten one important detail. Company is coming over for dinner.

Sally and Fred arrive just as the "magic" kicks in for Walter and chaos ensues.

Fred is Vicky's new business partner and Sally is Fred's sexy and confident wife. Though this lovely and apparently strong couple claim to be coming over for dinner to discuss the new business partnership and Vicky's Swing Dance Club ~ it turns out there was a miscommunication. Somewhere along the line, Sally and Fred thought Vicky meant a Swing Club. NOT a Swing DANCE Club.

What follows is a collection of awkward moments between the two couples as one thinks they are discussing Swing Dancing and the other SwingING.

This is a hilarious play that I believe left every audience member a little happier when they left after the curtain closed.

The script and actors had the audience roaring with laughter and the play sold out every night except two!

I enjoyed every minute I spent with this cast and crew; I look forward to seeing where this play goes.

CAST (in order of appearance):
Joe Belanger as WALTER
Dinah Watts as VICKY
Kevin Curnutte as the delivery boy
Liz Marra as SALLY
Paul Bowen-Smith as FRED

CREW:
Heather May, Director
James Wybrow, Producer & lighting operator
Kevin Curnutte, Stage Manager
Sandra Halko, Assistant Stage Manager
Sookie Mei, Props
Diane Hall, costumes
David Long, Set Construction & Design
Mark Mooney, Light Design
Jeremy Hayes, Sound Design & Operator

REVIEWS:
The Beat Magazine
The London Free Press
 theatreinlondon.ca

OTHER LINKS:
Palace Theatre Blog
ldtonline.ca
Swing Dance - the trailer

Keep Breaking Legs and Keep Swingin'!

Out With the Old & In With 2013!!!

What a magical and eventful year for theatre and life!

I can't wait to see what the New Year has in store.

In 2013

I had the honour to play the role of Anne in "Goodnight Children Everywhere"

I was blessed with a friendly and talented cast in "the TWIDDLE PLAYS"

I began volunteering at the local art gallery "the Arts Project"

I started my own business

I began working with a friend on a top secret theatre project for kids

I was accepted as 1 of 7 members of the new GAB program at the Grand Theatre

I began volunteering and now sit on the board for "Artistically Speaking Out Against Bullying"

I've made some wonderful new friends through the Source, Theatre and Arbonne

I attended my cousin's wedding

I am directing for the Palace for the first time ("Swing Dance" - Feb 2013)

I've continued working as an actor for Murder for Hire Murder Mysteries

I was the maid of honour at my mum's wedding

I reconnected with a penpal in the UK from my childhood

I have planned the next Maybles' Poductions ("Six Funny Ladies" - May 2013)

Darren and I got a dog together

and I'm sure there's many more excited things I'm forgetting.

I thought I would share with you why I do theatre and why I think it is an important part of life...

~ ~

I have been involved with independent theatre across Southern Ontario and India for almost 15 years now. My discipline of theatre would be Comedy as a Director and Comedy/Drama as an actor.

I founded my own theatre company in 2009 called "Maybles' Productions, Because Funny Feels Good" because I saw there was a gap in the local theatre community - Comedy.
It wasn't just Comedies that this city was lacking but also a theatre company which truly worked together, was 'drama'-free and helped each participant to learn as much as they can and give the best performance they can. I have always been a believer in "two heads are better than one" and this is true for theatre as well.

Theatre has been an outlet for people to grow, learn and build on skills that can flow into areas of daily life. Through theatre, I have seen individuals overcome stage fright, reading and speech impediments as well as become self-assured after accomplishing something as great, wonderful and magical as a play.

To me, Theatre means an escape or break from "life", a safe space where people can explore what it means to be human and a place where individuals can be a part of something wonderful.

Through the years, I have had many inspiring Theatre experiences. I have built a drama club in an all-girls' school in India, I have worked as a director with blind actors, I have seen actors overcome with joy because they "didn't fail" and had someone who believed in them. I have seen a room brought to tears because a 12-year-old girl (who found a love for herself through drama and music) stated "she didn't want to die anymore". I would say my most inspiring life experience has BEEN theatre.

When I direct or produce theatre, I create comedies with real and believable characters because it feels good to laugh. I create a space that is supportive, all-accepting and trusting between the cast & crew.  Sometimes as an audience member, we don't want to think or rack our brains for references and we just want to sit back, relax and laugh.

When I am performing as an actor, I try to create a character that has had their own experiences and that the audience can relate to in some way. I also try to find something in each character I portray that explores a specific part of myself.

When I am teaching a workshop (Culture Days, Concordia College or Artistically Speaking Out Against Bullying), I try to inspire my students to challenge themselves and their comfort zones. It is magical to see someone, who thinks they cannot do something, work towards it then finally do it. A sense of accomplishment is one of the greatest gifts one can give to a child or adult who has self-doubt and I can do this all the time through theatre.

My general philosophy on theatre is this: Theatre is not a hobby, it is a way of life and if we can teach individuals how to be supportive and accepting of each other on a stage - maybe we can teach the world to so the same.

I will end by saying that though theatre can teach people many things - it cannot teach people passion and it is Passion that I have. I have been told that I eat, breathe and sleep theatre and that I may be on the borderline of "obsessed". Theatre can do so much ~ let me show you what I can do with theatre.

 STAY TUNED FOR AUDITIONS FOR "SIX FUNNY LADIES"!!!!!

"Goodnight Children Everywhere" comes to London, Ontario!

~ a post World War II play about lost childhood, familial roles and human nature ~

Goodnight Children Everywhere

written by Richard Nelson

coming to the Palace Theatre in London, Ontario

October 4-13, 2012

Cast (clockwise from top left): Tim Condon, Kevin Curnette, Whitney Bolam,

Heather May & Kalina Hada-Lemon (absent: Chris Albert & Clara Madrenas)

Elizabeth Newman (Director) & Heather May (Anne)



This play is not for the faint of heart or the easily offended.

Goodnight Children Everywhere takes the audience into the home of Anne, Vi and Betty (3 sisters) and Anne's husband Mike in Clapham, South London England during the Spring of 1945. These four have been living together in this small flat for some time and have become accustomed to the way of life in such small quarters.

The play starts on the day these three sisters are reunited with their brother Peter who was sent away during the Operation Pied Piper Evacuation to live in Alberta, Canada in World War II. Peter is now returning to England to live, once again, with his three sisters.

How does a family put back all the pieces? What do the words "Mother" and "Father" mean to children who were robbed of a propper childhood? How do siblings cope with the loss of both parents in war? How does one differenciate between "right" and "wrong" when so much of what has happend to them has been wrong? What happens between a brother and sister who were parted when they were children and reunited as young adults?

Each of these characters have a back story that is (by far) abonormal and challenging by today's standards. 

Mike, Anne's husband, met her through her sister Betty. Betty worked with Mike and had a crush on him. She brought him home to meet her sisters. So how did Anne end up being his wife and pregnant with his child? How does Anne cope with the ongoing flirtations between Mike and Betty?

Betty is a nurse. She is strong and responsible. She would make the perfect wife. She cooks, she cleans - so why did Mike choose Anne over Betty? Why does Betty fall for someone...like Hugh?

Hugh works with Mike at the surgery. He's loud, obnxious and like his whiskey. He sings too loudly, talks too loud and never seems to say the right thing. Are these the reasons why his wife left him for someone else or is there more to Hugh than meets the ear?

Rose is Hugh's daughter. She's pretty and obedient and "loves to go to the pictures". She is polite and always seems to say the right thing. She's realistic and has a plan for life. Peter would be crazy to pass her up - or would he be?

Peter is Anne, Betty & Vi's little brother. He has been separated from his sisters for years and is finally being reunited with them. All this time he's spent living in Canada. His accent has changed, his clothes have changed and...his body has changed. He's not the little boy he was when he left.

Vi is Anne & Betty's sister. She's young, fun and an actor. She could be considered the light in this family's darkness. What ends is she willing to go to in order to make a better life for herself? What past experiences has made her able to push through so many obstacles? What will it take to push her over the edge?

Anne, Vi & Betty's sister is, amongst other things, five-six months pregnant. She's tired, exhausted and never in the mood to 'go out'. You would think such a happy occassion as being reunited with her little brother would make her happy and jump for joy and yet, she remains quiet and still. It appears Anne is shy or afraid of saying the wrong thing. Maybe she's afraid of her husband or maybe it's just hormones. Then again, perhaps it's something deeper, that words cannot begin to describe.

~

"Goodnight Children Everywhere" promises to challenge it's audience. It is the kind of play London, Ontario has not seen for a long time. This is NOT a play for children and patrons should be warned of the mature subject matter and shocking moral content.

May this production be a reminder of a time passed that we (thankfully) do not live in or have to endure on a daily basis. May it be a tribute to all the lives affected by war in the past, present or future.

"Goodnight Children Everywhere" opens at the Palace Theatre on October 4th & productions are as follows:

October 4th, 5th, 6th, 7th, 11th, 12th & 13th in Procunier Hall at 8pm.

For more information or for tickets, please call the Palace Theatre Box Office at (519) 432-1029.
Tickets are $15

2012 ~ Going into Business for ME!

I have seen the light!

Working part-time, on-call, on a temporary basis for minimum wage

is NOT going to fund my theatre company.

Strange.

Earlier this month, I was invited to a business launch party for a local theatre friend of mine, Martha Zimmerman.  Martha is an equity actor who lives in London, Ontario and for as long as I've known her - she's been an actor. Acting is what she loves to do and is something she is truly passionate about. She has been an inspiration to me and others in the local theatre community.  I also attended one of her classes on Shakespeare and was truly amazed at how she got me and the other students excited about a text I never thought I'd understand let alone be excited about.

Martha's business launch party was to announce her start with a skin care company which sells botanically-based, 100% Vegan & PETA-approved products. She has decided that she wants to continue her work as an actor but refuses to work a 9-5 job where she must report to the "head cheese" and do what they say when they say it for as much (or as little) as they decide to pay ~ in order to pay the bills.

I had decided before arriving at this business launch that I would purchase one or two products to support Martha in her new business but that I wouldn't let myself get too excited in the business opportunity.  That changed very quickly.

When I learned that the products were Vegan - at first, I didn't really see just what that meant. Then I learned a company can sell a product which was not tested on animals but still contain animal bi-products. Gross! I am not a vegetarian however the thought of lathering up with a body lotion which contains animal fat, for some reason, grosses me out! I also discovered that none of their products contain artificial colours or frangrances which have always seemed to cause breakouts on my body.

I have decided to join Martha and her team on this journey to something better.

There are 3 reasons why I am sharing this exciting news on my theatre blog:

#1. I want to tell everyone my plans and goals and reasons for joining this company publicly.

#2. I want to set-out clear expectations for myself and keep the goal of improving my theatre company in sight.

#3. I want to ensure all my friends, family and theatre supporters that I will not become a "crazy Avon lady" and I will not knock on anyone's door to join my business or buy the products.

I've tried the products and love 'em and I believe in Martha. That's why I've chosen this fresh start.

Here are my goals I am setting out to achieve:

-be able to offer theatre workshops locally without charging the participants.

-be able to produce (at least) one comedy each year.

-be able to volunteer more time and donate more money to local theatre.

-volunteer more time and money to the following groups and organizations:

Children's Aid, Artistically Speaking Out Against Bullying, PRIDE, Sunshine Foundation & local theatre

-have the freedom to rehearse, direct and teach theatre without "getting time off" from an employer.

-purchase or rent a larger rehearsal space for Maybles' Productions.

-have my choices NOT be limited by my paycheque or an employer.

-never kiss someone's..."feet" or pretend to be grateful again during an interview when they offer me some crap position for minimum wage on evenings and weekends (when I do most theatre!).

THANKS FOR YOUR SUPPORT!

STAY TUNED for a blogpost about an upcoming production of "Goodnight Children Everywhere" written by Richard Nelson, directed by Elizabeth Newman and going up at the Palace Theatre October, 2012 ~ starring yours truly as Anne.

Characteristics of a Children's Audience

~ the differences between an audience full of adults and one filled with children ~

inspired by the book: Theatre for Children by David Wood with Janet Grant

When performing in a theatre, actors can expect an adult audience to remain seated for the entirety of the show (unless they think the performance is SO BAD or need to leave for an emergency). Actors can also expect the audience to clap and possibly give a standing ovation at the end of the show. The cast can also expect the audience will remain quiet and not talk during the performance.

When performing in front of an audience of children - the game changes.
Children will yell at "the bad guy", leave if they think the play is "stupid" or "lame", they will talk to their friends seated beside them when they are excited or don't understand something on stage AND children know what they like. They will clap if they like it and will show their appreciation only when they truly enjoy the play. If they do not enjoy the performance, they won't clap or cheer "just to be polite".

Indeed when it comes to comparing adult & child audiences there is no doubt that children are the honest ones while the adults are the polite ones.

CHARACTERISTICS OF A CHILDREN'S AUDIENCE

#1. Children eagerly respond to Justice.

-when one character wrongs another

-what's "fair"

-justice prevails and good triumphs over evil

-gives children hope during times when they are wronged

*adults respond to characters responding to justice (good or bad)

#2. Children like to be frightened - within limits.

-being exposed to a negative force or evil character within the safety of a theatre

-the opportunity to interact with evil, stand up and save the day without being caused any trauma

-the supernatural, monsters make-believe or magic

-introduction of evil realities they may have to face in the future or in adult life

*adults have been exposed to more evil than children and need more "umph" to be frightened

#3. Children are healthily subversive.

-anything rude is found funny

-things that are considered inappropriate by adults in polite society are entertaining

-bodily functions, smelly socks, underpants, etc.

-daydreaming, disobedience, talking back, concealing one's thoughts/feelings & making fun of school & family

*adults are repulsed, turned-off or become disinterested if a production is not "tasteful"

[that is, if the adult audience is expecting a professional & serious show -

sometimes adults also like the crude. Surprise.]

#4. Children are logical.

-children do not enjoy, like or understand sub-plots or loose ends

*adults usually don't either but will be polite and say "nice show" even if they wanted to know what the hell happened???!!!

#5. Children act differently and unpredictably.

-children won't always yell out the right answer when asked for

-children may chant something unexpected like "teach him a lesson!" or "not that way!"

-try to predict what they will say & when but know that may not be the results you get

*adults do not tend to yell out or chant anything during a production and are difficult to encourage to do so

#6. Children make noise during productions.

-children may find the urge to copy a character's movement (ie. hop like a kangaroo)

-tip-up seats are NOT recommended for children's audiences

-children will speak with their friends when they get excited or don't understand something

*adults will sit still and silently to be polite...even if they think the play is awful

#7. Children respond to action.

-conversation must be linked with action or some kind of movement

-characters simply sitting and speaking is BORING

-children don't want a debate, they want things to get done!

*adults can remain attentive to a conversation and follow along more easily

#8. Children don't like being patronised.

-don't speak sweetly or down to them like a dog. Kids will TURN OFF

-if you question the intelligence of your audience you are sure that they will not respect you or the show

*adults don't like to be patronised either. Duh.

#9. Children don't like "lovey-dovey" stuff.

-children are more interested in the plight and challenges of two lovers than how they fell in love

*adults appreciate a good romance or a story of intense passion

#10. Children love animals and toys.

-children often imagine their toys or pets are alive with their own personalities & enjoy seeing this concept come to life on a stage

-children feel safer if the characters are animals or toys rather than someone that looks like themselves

*adults prefer stories about human interaction and relationships as our imagination has more limits than that of a child

#11. Children love stories

-play must have a strong, coherent, logical, basic and interesting plot with well-defined focus and characters

-children understand action & reaction better than reflection

-a journey from A to B is a simple concept but the conflicts amongst the characters and the obstacles along the way are what makes it interesting.

*adults love stories too. That's why we have live theatre!

Remember my friends and local thespians that if we do not cater to our children's audiences today and get them hooked on live theatre at a young age - we will not have an adult audience in the years to come.

"An Introduction to Dramatherapy"

 written by Dorothy Langley

Dramatherapy (sometimes "Drama Therapy"):

"a type of psychotherapy encouraging patients to use dramatic techniques

to deal with emotional and psychological problems."

While browsing the Drama section at my local library, I came across this book.  I have read it and am determined to purchase it for my library.

In order to become a registered Drama therapist (RDT), one must attend an accredited school under the National Association of Drama therapists (NADT). There are only 4 universities recognised under the NADT which are in California, Montreal, New York and the United Kingdom.

I have always had an interest in Dramatherapy and try to incorporate methods and concepts into my rehearsals and drama games I conduct with both adults and children whenever possible. Needless to say - living in London, Ontario - I will not become a RDT anytime soon. I am not a registered Drama therapist, I do not claim to be one nor do I call what I do "Dramatherapy". I am simply inspired by the logic behind and the concepts of Dramatherapy.

I wanted to share with you all what I got out of reading this book:

STAGES:
-Dramatic Play: games, trust exercises, environment exploration, etc.
-Scene Work: script/improv, structured scenes, focused characters & situations
-Role Play: real-life roles, safely portray someone else
-Enactment: real-life issues and conflicts
-Dramatic Ritual: structure, occurs every session/rehearsal, set expectations & schedule

-Start a rehearsal or drama session with a warm-up (duh), followed by a focused activity (ie. based on a specific idea or concept) then bring the session to an end with a cool-down activity/a ritual (ie. a song or dance which ends the session/rehearsal every time).

IMPORTANT:
-always state clear boundaries of space, time & rules
-always use clear instructions & goals that are achievable
-always state that it is safe to play
-explain relevance of each activity

MODELS OF DRAMATHERAPY:
-Developmental Model, Jennings
-Creative/Expressive Model, Cattanach
-Integrated Model, Jennings
-Para-Theatrical Model, Grotowski
-Role Model, Moreno
-Theatrical Model, Brenda Meldrum

WARM-UPS: sets mood, theme & focus
~warm-ups break the ice, make introductions, prepare body & mind for activity, focuses on the physical being, awakens imagination & creativity~
-Bean Bag Toss (say a name and toss them the bag, gradually add more bags)
-Tag, Red Light/Green Light, Musical Chairs, Follow the Leader
-Balloon Pass (form 2 lines facing each other and lightly bounce the balloon back & forth between partners)
-Run n' Touch (sit, everyone stands, runs, touches something of a certain colour then races back to their seats, leaving one person left in the middle to choose the next colour)
-Scarf? (pass a scarf around the circle, use imagination to turn it into something else ie. a cape)
-Statement (make a statement on the chosen topic/theme ie. if senses is the theme one could share something that they have tasted or smelled in the past)
-Tableau (one person places all the other members into a tableau/still picture then tells a story)

ICE-BREAKERS:
~group cohesion & trust~
-2 Truths & a Lie (in partners tell each other 2 truths and a lie about yourself and see if your partner can pick out the lie)
-One person at a time or in partners describes to the other(s) their happiest place and takes them through an imaginary tour
-the group becomes a car or boat-making team. They must collect items within the space to create a boat/car that will actually be able to move around the room/space

SOCIAL SKILLS
-eye contact while speaking
-sit in circle, one hints to another that they wish to trade places with them only using eye contact
-in partners compliment and say "thanks" back n' forth and repeat
-create a scene on a park bench: one person wants to quietly read the paper and the other wants to chit-chat. How do each deal with the conflict?

AWARENESS OF SURROUNDINGS
-explore room with senses (please don't have them lick anything :) to discover what they see, hear, feel and smell in the room. What do they like the best? What feels nice? What looks menacing? What is humming?
-walk around the room banging and tapping (respectfully) on items within the space. After exploring everything, have each person go back to the thing they think made the "coolest" sound and see if, as a group, you can create a rhythm or song. One-by-one they join in.
-study and observe shapes, angles and objects in the room - then recreate them with your bodies
-Number and name all the colours you see in the room. Which is your favourite & why?

SENSES
-listen and focus on the sounds within the room, then expand to the sounds in the building then outside
-pass a bag with a  textured object inside around the circle and have them guess what it is. They can describe the texture and how it makes them feel (gross, scared, funny, etc.)
-pass around little pots which each have a different scent. Have the individuals share what they think it is and what it makes them think of (if anything)
-get into partners numbered 1's and 2's. Study each other's appearance then have all the 1's leave the room and change one thing about their appearance as the 2's do the same. Everyone comes back and tries to figure out what's different in 3 guesses.
-have individuals think of their happiest place or memory and make a list of the colours in that place/memory. Then have them create a rainbow/abstract piece using those colours (art supplies needed)
-show the group/circle a picture and have each describe what they see and tell a story about the picture

REALITY ORIENTATION
-have a check-in board with date, time, current news & weather
-share with group how you got to the session/rehearsal
-look out the window and state what you see (can use this to create characters & setting for improv)
-look at the clothing that people are wearing outside. What does it say about the weather?

REMINISCENCE & MEMORY
-storytelling around a theme
-story/scene/improv something that everyone knows (ie. a scene from a Fairytale)
-picture display from their past (art & photographs)
-plays/skits & improv surrounding an everyday object (ie. a spoon)
-plays/skits & improv based on experiences of individuals/group
-song/rhythm circle

MOVEMENT
-each person moves around the room expressing their current emotion/mood without words
-imagine your favourite picture or image and create a movement that expresses it's essence. Create a rhythm/dance using that repeated movement
-have the group write their own name in the air and build upon those movements
-in pairs, recreate a task (ie. washing dishes) and turn these movements into a sequence

RELAXATION
-lie down, relax and tense the various muscle groups starting with the face and moving down to the toes
-lie down, breathe in all the good things you would like to absorb, exhale and blow out all the negative things you'd like to rid yourself of

ROLE
-play as/ become another person, animal or thing
-play as/be yourself but in a different place/situation
-isolate something about yourself and create a character around that one thing (ie. Mother)

IMPROV
-walk around the room concentrating on how you feel in that moment. Who else walks like that or who could? Create a character around this walk and give them a name and background/history. Change the setting of the room (ie. into a grocery store) and have all the characters interact as they would in that environment
-everyone are members of a shipwrecked crew on an island. Interact and organise yourself with others to find food and shelter. How will you get home? How do you interact with others? Do you want to go home? How do you interact with the locals?

CREATE A STORY
1-main character & where they live
2-mission or task they must fulfil
3-person or thing that will help the main character
4-obstacle that stands in their way
5-how the main character copes/deals/overcomes the obstacle
6-how the story ends (does it end?)
*individuals may also create a storyboard to help show the group what their story looks like

HOW TO USE STORIES
-told to and shared with the group & reflected on
-told without the ending which members of the group can provide before finding out the original ending
-narrative can be performed by the group as it is read, rehearsed then performed
-members can add/change stories in group/partners before presenting
*stories can be a source of group/individual exploration revealing unspoken issues

DE-ROLING
~getting "out" of character and back to be being themselves~
-sit in 2 chairs (back and forth) one is the "character" chair and one is the "me" chair. While sitting in each chair they state the differences
-place a bucket/chest in the room for individuals to place within what they would like to "keep" from the role they played and a trash can for what they would like to "toss away"
-have the individuals think of ways they would like to "keep" and "toss away" feelings and emotions from the role they played (ie. "keep" it in a locket and "toss it away" by burning it)

CLOSING THE SESSION
-brief reminder that the session/rehearsal is coming to an end
-look towards things that are coming in the future
-concluding ritual (occurs at end of every session/rehearsal)
-reminder & time of next session/rehearsal
-ask individuals as to where they are off to afterwards
-group stands in circle facing outwards, clap, turn to face outwards then leave when they're ready
-restore room to order before returning to circle to say "goodbye" or "until next time"
-stand in circle and one-by-one state what they would like to take and what they would like to leave. After everyone has shared, they may leave
-"Hey-ho, hey-ho, it's off to _____ we go!"

FURTHER READING
"the Healing Drama" by Bannister, A.
"Drama, Psychotherapy & Psychosis..." by Casson, J.
"Drama for People with Special Needs" by Cattanach, A.
"Dramatherpy for People with Learning Disabilities" by Chesner, A.
"Drama Therapy Process, Technique & Performance" by Emunah, R.
"Dramatic Approaches to Brief Therapy" Gersie, A.
"Reflections on Therapeutic Storymaking" by Gersie, A.
"Drama and Healing:the Roots..." by Grainger, R.
"the Glass of Heaven" by Grainger, R.
"the Play's the Thing" by Jenkyns, M.
Dramatherapy, Theory & Practice (Vol. 1,2&3)" by Jennings, S.
"the Handbook of Dramatherapy" by Jennings, Cattanach, Mitchell, Chesner & Meldrum
"Drama as Therapy, Theatre as Living" by Jones, P.
"Drama Therapy" by Landy, R.
"Persona and Performance" by Landy, R.
"Dramatherapy Clinical Studies" by Mitchell, S.
"Discovering Self Through Drama & Movement: the Sesame Approach" by Pearson, J.
"Psychodrama" by Wilkins, P.

Somewhere along the way, we stopped playing,
letting loose and being silly.

Dramatherapy is a safe and supportive outlet
for people to express themselves freely

without fear of judgement or ridicule.

Through laughter and play,
we can heal ourselves from within.

More information on Dramatherapy can be found here:
http://www.nccata.org/drama_therapy.htm
http://www.nadt.org/index.html

Drama Games for Kids...AND Adults

~ ages 5-12 ~

When we were children, we were encouraged to laugh, play, dance and sing.
When we were children, it was "cute" for us to put on a little play or sing a song for Grandma.
As we grew-up we were told (more and more often) by society, that singing and dancing is for children and that we are "too old" for such childish games.
These games focus on giving children and parents an opportunity to be a little silly while improving listening skills and self-esteem.
Though these games are specified for children between the ages of 5 and 12, they have been tested and proven beneficial for adults as well.
I strongly encourage parents, guardians and teachers to get involved with our children.
As adults, we should all have the opportunity to play, laugh and dance little.
Let loose and enjoy these games!

"Run a Marathon"
No materials needed, works great in a large group. Imagination and physical warm-up.
Have everyone stand in a circle facing inward and tell the group that they are about to run a race.
They are just behind the starting line and they need to stretch their legs and pump themselves up for the win!
"On your mark! Get set! GO!" And your Off! Everyone is running on the spot as fast as they can, they're being cheered-on by their fans on the sidelines, they pass one of the other runners, they turn a corner, they jump over a log, they swim across a lake - It's up to you! Have them react to whatever you tell them and then - you cross the finish line! Walk it off, take some deep breaths and raise both your arms up in the air because you are the champion! This is a great warm-up activity to get everyone moving and hearts beating.

"Explore Your Environment"
No materials needed, works in any size of group. Imagination & physicality.
Everyone starts by walking around the pre-determind space in a random fashion (rather than in a circle or in one direction). Once everyone has explored the physical space - change the setting. "You are no longer in this room - now you are in the Arctic and the cold wind is blowing, snow is sticking to your eyebrows and nose hairs, you pull your coat tighter around you but the cold just keeps getting colder, your nose starts running as all the bones in your body start to freeze and SUDDENLY you have become a frozen statue." Continue to change the setting, environment, tempurature, situation, etc. This game is a great way to get children out of "life mode" and into "play mode". Something I like to add to the end of this game is tell everyone you are walking in a park and you are surrounded by friends you haven't seen in a long time. Tell them to approach everyone in the group with a warm smile, a handshake and a greeting like "Oh, I haven't seen you in such a long time!" or "It's so nice to see you; how've you been?" etc. This game encourages group involvement and respect for others.

"As the Wind Blows"
Tape or chairs needed, works best with a larger group. Focus on things in common vs. differences.
Everyone stands on a taped "x" in a circle or sits in chairs placed in a circle. There should be enough chairs or "x's" for everyone except one person. This person stands in the middle of the circle and says "As the wind blows, it blows everyone who has ______". It could be something they've done, something they have, their favourite colour or something they're wearing. Everyone in the circle who has whatever the person in the middle stated, runs from their spot into someone else's spot. There will always be one person left in the middle for the next round. After playing this game a few times, I like to add another dimension - have everyone give each other a high-five before finding a new seat. This is encouraging for kids to see and hear what they have in common with who. A great way to introduce children into a group or individuals to each other.

"Hoola-Hoop"
 One hoola-hoop, works best with a medium-large group. Teamwork & accomplishment.
Everyone stands in a circle holding hands. A Hoola-hoop is placed on one person's shoulder so that it is resting on their right or left shoulder at the top and is in between their legs at the bottom. Without letting go of hands - pass the hoola-hoop all the way around the circle. While doing so, encourage the group to cheer-on their group members. Individuals can help their neighbors get the hoop up and over them by lifting their arms or lowering them closer to the floor. It's fun and everyone is so excited after they did it! It's really fun to time it the first time then try to beat the time as a group.

"Human Machine"
No materials needed, works in any size group. Teamwork, focus, rhythm & listening.
Everyone stands (or sits if they choose) in a circle. One person starts by making a movement from the person on their left to the person on their right accompanied by a sound. This movement with the sound is repeated from left to right, left to right until a rhythm is heard and seen. The person on that person's right then makes a motion that continues from the motion presented to them. If the person who started, picks something up on their left and drops it in the air over the person on their right then THAT person needs to make their own movement (in some way) catch the object being dropped over them so they can continue the motion around the circle. Eventually, everyone in the circle will be receiving and passing an imaginary object around the circle with repeated movements and sound. If working with younger children - using a real object, such as a ball, might help them imagine the object but also keep track of where it is in the circle. A great game which encourages working together and "give & take".

"Led By the Nose"
No materials needed, works in any size group. Exploration, imagination & physicality.
Everyone begins by exploring the space provided. Once everyone is spread out and walking within the space (not in a circle or in any given direction) instruct the group that they are now being led by the nose. They will in turn push their nose forward as if their nose is steering them about the room. Change it up as often as you like. Be led by the elbows, the fingertips, your toes, your ears, your teeth, etc. This is a great exercise to get children (and adults) out of their minds and warm them up for physical activity. Individuals will also learn to show their actions outward rather than simply standing and talking - they allow their bodies to be primary expressive factor.

"Silent Mimes"
No materials needed, works in any size group. Imagination, listening & physicality.
Everyone begins by exploring their environment as in the previous game. Direct the group through various activities meanwhile having them remain silent without any words spoken or noises made. Some activities may include: your eating an ice-cream, you're walking a dog, you're picking strawberries, you're washing the dishes, you're picking flowers, you're trying on clothing, you're admiring yourself in the mirror, etc. This is a great game to have towards the end of drama games as it tends to calm down the group and prepare them for leaving the "play world" and getting back into "life mode".

"You're in the Middle of an Ocean..."
No materials needed, works individually and in groups. Imagination, calming/cool-down.
Have everyone find a place on the floor to lay down and have them lay on their backs facing the ceiling. Then have them close their eyes. Everything you say - they are to imagine in their minds while keeping their eyes closed. "You're in the middle of an ocean. The sky is clear and seagulls pass overhead. You hear the waves as they gently sway your raft. You place your hand in the cool water and feel it drift between your fingers..." You can add as many dimensions to the story as you like, whether there's little fish in the water or a boat passes by but try to keep your voice quiet and calming. I usually like to end this game with "...a family seagulls flies over you and -UH OH - one pooped on your head!" This gets everyone laughing again and is a great way to get them out of the relaxing/drama mode and back into reality without being too abrupt or having them fall asleep on you.

I have done these games with children from the ages of 5 right up to adults in their 40's and 50's.
I find the best way to ensure games are well received and that everyone participates is to show your excitment for the games. If you get into it - so will the people you are instructing.

*NOTE ~ at any point if a child or adult is uncomfortable with a game or wishes not to participate, do not force them. Instead, instruct them to simply remain with the group and watch or to sit quietly closeby and still in view. Everyone has different levels of comfort and it is important to respect that in individuals of all ages.