Thinking about the IPP....

   Over the past few weeks, I've been able to spend more time working with children, not only through babysitting, but through children's theatre. I saw a children's show during which i made many notes. I was fascinated with the parallels i saw in professional and high school theatre. I saw what was sacrificed when working with younger actors and a younger audience, but what was kept to make a good show. I also was able to work a bit backstage during another children's show, in which i observed many small children get a crash course in theatre and professionalism, and saw what hard work and different dynamics a show like that had to endure and work with to create a fantastic show i was able to see on its closing night. 

   On November 20th, My family and I were invited by some neighbors of ours to  see Mulan Jr., a production put on by the Army Garrison on Yongsan Army Base, featuring quite a few children from the post. The first thing about this show that threw me was the casting. Some of the adult parts that were "meatier" were given to high schoolers, but the majority of the cast was comprised of children no more than twelve years old. I found this contrast good in some cases (ex. a 6 year old farmer being scared by a huge 16 year old Hun warrior) but more often than not quite confusing and polarizing. One  example of this would be the case of Mulan's family. Mulan was played by a high school senior, whereas her mother and grandmother were played by girls who appeared to be about 3rd grade. If the grandmother had perhaps been dressed more like an old woman, or had been given gray hair, it might have been more clear as to who she was. I didn't figure out who she was in the musical until they referred to her by name. However, while this still would have been a problem if they were ALL third graders, having an awkwardly tall Mulan in the midst did not help anyone's case.

    While details like aging were not taken into consideration, most of the sets and costumes were extremely colorful and appeared to be well thought out. The set was versatile for large group numbers and for symbolizing lots of long journeys through the Chinese country. The use of elaborate sets and costumes is what some refer to as theatre "bling", excessive to the point of being gaudy effects to entertain an audience in a dazzling, albeit shallow way. But in this form of theatre, things like realistic acting or handmade costumes were aften sacrificed for a bigger, better effect. Because not only are the actors children, but the majority of the audience is too, along with their parents. Children who are young my not even completely follow the plotline, but they remember the slapstick, the effects, the "big moments" in the show. Parents may not be enthralled with the acting, but this "bling" will make it at least aesthetically pleasing to watch. 

    The brilliant thing about choosing Mulan Jr. was that the children in the show all knew the story going into it. Major plot points were cleverly clipped, so lines were minimal. They employed a sort of Greek chorus in the form of Mulan's ancestors, who set the scene before many segments of the show. In reality, the movie this musical was based off of doesn't have a lot of parts. By splitting a narrator part into a narrating chorus, this allowed more students to shine. 

    I noticed many differences that were clearly directorial decisions made solely because this is a children's musical:

--In a musical, the temptation to rely totally on a CD is a great one, and many who indulge in these Jr.  package deals do, and there is NOTHING wrong with that. However, one must not just send the kids home with the CD and say "go practice". Having a musical assistant to run through the songs with the kids is very important as well. Don't let the CD become a crutch when musical expertise is your shortcoming as a director.

--In choreography, especially in children's musicals, big group numbers are a must. However, in my opinion, fine motor movements are a definite DON'T when it comes to any dance. 

--Those "aww" moments happen in children shows, no matter what, but what is wrong with wanting to plan a few. Give the smallest kid in your show that one liner, make the rowdy boy do a dance solo onstage, whatever. Those are the moments that their parents will want to remember. 

    My only regret with Jungle Book, the Key Stage 2 production at the British School, was not getting involved more and not getting involved sooner. The kids in this show were, crazy, charismatic, fun, intelligent, and a million other things. There was an aspect of pageantry to it, but the overtones of professionalism running through these kids veins was definitely palpable. Mrs. Moon would have these kids reciting "Respect your Actors, respect your Audience," like a Buddhist mantra. Every member in the 157 person cast knew what their job was onstage. They had an identity, be it a rock, a flower, or the great big bear Baloo.

Seeing all the different facets that go into these younger productions is interesting too, with all the parent involvement and such, plus teachers. 

    There is so much MORE I could write about this, but the bottom line is that my IPP will most defenitiely concern working with children in theatre. Yippee!