ShowKit - Director's Guide Sneak Peek

DENNIS KELLY Matilda_Jr_DG_FrontCoverFin.indd 1

MUSIC & LYRICS BY

TIM MINCHIN

DIRECTOR’S GUIDE

BOOK BY

7/29/19 10:07 PM

Welcome to Roald Dahl’s Matilda JR.

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started working with the Roald Dahl estate in 2002 to develop Charlie And The Chocolate Factory into a stage musical. This stage adaptation would feature music from the original 1971 film by Leslie Bricusse and Anthony Newley, and a libretto co-written by me and Leslie. This was the first time the Dahl estate had agreed to allow one of Dahl’s novels to be adapted into a stage musical. During the process I became close with Roald Dahl’s widow, Liccy. We would have long conversations about all kinds of things over delicious luncheons that featured fruits and veggies from her garden, and always ended with a passed bowl of yummy chocolate bars. At one of these luncheons Liccy asked me if I thought there were any other Dahl novels that might make good musicals. My first suggestion was James And The Giant Peach (we know how that ended); my other recommendation was Matilda.

Several years later I was asked if there were any musical theatre writers who might be a good match for Dahl’s novels and one of those writing teams did end up writing a Dahl musical. But when folks from the estate asked what I thought about Tim Minchin writing music and lyrics for Matilda I had to admit that I didn’t know his work. I remedied that by doing a deep dive into all things Minchin, and it was clear that Tim would be a perfect match for the wit and darkness of Dahl.

Now, I don’t think my suggestion of Matilda or endorsement of Tim Minchin had anything to do with the show’s development. But it was fun to be a fly on the wall as the musical Matilda was being developed.

I would get calls and emails from friends who worked at the Dahl estate. I remember there was tangible excitement and joy surrounding the show. Its first previews at Stratford-upon-Avon had the usually reserved British audiences on their feet and cheering. When the show moved to London’s West End the buzz went worldwide. This show was a huge hit, and would soon come to Broadway which is where I saw it.

Sitting in the audience I remember thinking “I cannot wait to do the Broadway Junior adaptation! People are going to LOVE this show!” While adapting the show I worked closely with Dennis Kelly, its librettist, and found him to be an absolute delight. I also got to see the show several times in London, where it is still running as of this writing. I must say that the London production has some Dahlian magic about it. If you ever have the opportunity to see it, do!

It took several years to get this show to you and your students but here it is at last! Oh! And the Guide Vocal recording features some performers who were in the West End show and was conducted by that production’s music director. Now go out there tell the story of Matilda! And how a band of revolting children stand up to an adult bully, and make the world a better place for children everywhere.

Break all the legs!

Timothy Allen McDonald

Director’s Guide Credits ShowKit® Content Marty Johnson, Lindsay Lupi, Jiana Odland, and Laura Jo Schuster Contributing Editors Marianne Phelps Cara Schuster Music Layout Daniel J. Mertzlufft Rob Rokicki Music Supervisor Lindsay Lupi Designers Kevin M. Johnson Steven G. Kennedy Associate Editor Laura Jo Schuster Senior Managing Editor Susan Fuller Production Photos Courtesy of Broward Center for the Performing Arts The Broadway Junior® Concept and Format Created by Music Theatre International (MTI) Adaptation and support materials developed for MTI by iTheatrics under the supervision of Timothy Allen McDonald.

See MTI’s complete line of Broadway Junior® musicals at: broadwayjr.com MTI’s School EditionTM and full-length musicals may be found at: MTIShows.com

Table of Contents Overview About Your ShowKit® . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .A2 Your Performance License . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .A3 Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .A4 Preparing For Your Production. . . . . . . . . . . . . . . . . . . . . . . . . . . . .A5 Script Actor’s Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B1 Icon Notes Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B9 Casting Casting Your Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C1 Cast Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C3 Rehearsal Successful Rehearsal Strategies . . . . . . . . . . . . . . . . . . . . . . . . .

Teaching Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Theater Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

D1 D5 D7 D8

Design Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .E1 Costumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .E5 Props . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .E9 Lighting & Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .E11 Connections Curriculum Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F1 Community Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F3 Connect With The Show’s Authors . . . . . . . . . . . . . . . . . . . . . . . . . F6 Connect With MTI and iTheatrics . . . . . . . . . . . . . . . . . . . . . . . . . . F8 Resources Resources At A Glance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G1 Fall Rehearsal Breakdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G2 Spring Rehearsal Breakdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . G5 Summer Rehearsal Breakdown . . . . . . . . . . . . . . . . . . . . . . . . . . . G8 Sample Program and Billing Information . . . . . . . . . . . . . . . . . . . G10 Sound Cue Sheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G12 Reproducible Black and White Logo . . . . . . . . . . . . . . . . . . . . . . G15 Sample Poster. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G16 Downloads & Digital Media Guide Vocal & Performance Accompaniment Tracks . . . . . . . . . . . . H1 Choreography Videos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H2 Downloadable Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H4 Roald Dahl’s Matilada The Musical JR. Director’s Guide © 2019 MTI Enterprises, Inc. Music and Lyrics © 2010 Tim Minchin, published by Navel Enterprises Pty Ltd./ Administered by Songs of Kobalt Music services Australia Pty Ltd. Book © 2010 Dennis Kelly Director‘s Guide Stock Text and Icon Notes © 2019 MTI Enterprises, Inc., created by iTheatrics under the supervision of Timothy Allen McDonald.

Director’s Guide stock content based on the iTheatrics’ Method © 2017 iTheatricsby iTheatrics under the supervision of Timothy Allen McDonald.

Broadway Junior, Family Matters, and ShowKit are trademarks or registered trademarks of Music Theatre International.

All rights reserved. Unauthorized duplication is prohibited by law.

About Your ShowKit

®

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ongratulations! You have received your ShowKit® materials and are ready to begin putting together your production.

Here’s a quick description of what your ShowKit® includes:

Director’s Guide

This guide provides your creative team and you with all the information you will need to produce and direct this musical. It also suggests how to connect your production to your school’s curriculum and involve your community. Icon notes provide you with quick tips on everything from sets to staging as you work through each page of the show. Think of this guide as a friend and mentor who’s there to steer you in the right direction by offering tips when you need them and sharing with you the very best practices from the field.

team – your performers will use them to help learn their vocal parts, and your creative team can use them for reference as they design the production. In addition, forward the Performance Accompaniment Tracks to your music director and choreographer to use in rehearsals.

Choreography Videos

These are the books that include the script and vocal score, which your cast will use during rehearsal. They include an introduction to musical theater and a glossary of important theater terms and vocabulary.

This resource demonstrates the show’s larger musical numbers fully choreographed and broken down into several videos, including step-by-step instructions and adjustments for performers. Should the choreography include any special steps, a segment is included that breaks down those steps for performers of all levels. Forward the link to the streaming Choreography Videos to your choreographer for reference. If you are replicating the videos in their entirety, consider forwarding the link to the cast as well, which will help them practice on their own. While it is not usually legal to recreate another’s choreography, feel free to use as much of this choreography as you like – your performance license allows you to use this choreography in its entirety in your performances.

Piano/Vocal Score

Downloadable Resources

Actor’s Scripts

This book includes the vocal music and piano accompaniment for the show. If you are working with a music director, they will find this item useful.

Guide Vocal And Performance Accompaniment Tracks

The Guide Vocal Tracks feature young performers singing the music of the show. The Performance Accompaniment Tracks feature professional, live musicians performing the music of the show without the singing. You will use these tracks for your performances. Forward the Guide Vocal Tracks to your cast and creative

Throughout this guide, you will be instructed to download various documents to help you in the production of this show. All such documents can be found through the Downloadable Resources link provided to you on your “My MTI” page.

This set of downloadable files contains digital versions of several items included in Resources as well as other essential templates and forms.

In many cases, the documents can be edited to meet your specific needs. Highlights include templates for creating a budget, programs, a rehearsal calendar, and sides that you can print and distribute at your auditions.

Have A Question About Your Broadway Junior® Title?

Go to mtishowspace.com and log on to MTI Show Support. Just type your question, and one of our many theatrical experts will get back to you with a response.

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efore you received these ShowKit® materials, you or someone in your organization signed an agreement to license this show. A license is a legally binding contract between your organization and the show’s authors or their representative. In this case, that representative is Music Theatre International. This contract specifies the terms and conditions under which you may present the show. It’s important to note that a license temporarily grants you the right to produce the show. It’s much like a driver’s license. With a driver’s license, you are allowed to operate a vehicle so long as you obey certain rules. Break the rules and your license may be revoked. Break the rules in a negligent way and you may find yourself in a great deal of trouble. In the case of this musical, you have obtained a license to present this show under the terms described in the license so long as you abide by the rules. If someone else in your organization signed the license agreement, be sure to ask for a copy, and review it to ensure you are aware of the terms and conditions.

Can I Cast A Girl In A Boy’s Role?

What Is A Copyright?

When in doubt, call your licensing agent at Music Theatre International.

Once the authors have written a show, they protect it by copyrighting their work. This copyright protects the show in many different ways. For example, only the authors or their representative can decide who may present their work, where the work may be presented, and for what amount of compensation.

Copyright law also protects the work from being changed or altered without the express permission of the show’s authors. It is your responsibility to perform the music, lyrics, and dialogue as written.

Can I Make A Few Changes?

When working with young people in the theater, it is common to have more girls than boys in a cast. Very often, the best-suited performer for certain male roles is a girl. Is that a violation of the copyright? Not as long as you don’t change the gender of the role, which also means not changing the name of the character or the pronouns associated with the character.

However, think through this decision carefully before making it. Some plays include gender disguises and specific romantic situations, so make sure your casting decisions do not confuse the story.

Can I Add Voices?

Ideally, you will present the musical exactly as written. But should you find you need additional vocal support, you may add more voices. Think about the authors’ intentions prior to making this decision. For example, if the lyrics of a song reveal information a character should not hear because of his or her storyline, do not include that character in the song.

Am I Violating The Copyright?

About Unlicensed Productions

If you use another person’s intellectual property illegally without properly compensating the owner, you are, in essence, robbing the owner of his or her livelihood. Besides being unethical, presenting a show without a performance license is illegal and subject to criminal punishment and hefty fines under federal law.

With the internet, it’s very easy to track and shut down unlicensed productions. Make sure your organization has a license agreement before starting your rehearsals.

Some people think that making a few “minor” changes to a show is inconsequential to its integrity. Others think they have the right to “experiment” with the authors’ intentions as an expression of their own artistic vision.

This is not the case. A theatrical production is a collaboration between the authors of the show and the organization presenting it. Your responsibility is to use your artistic vision to bring the show to life as the authors conceived it to the best of your abilities.

Music Theatre International • Broadway Junior® • Director’s Guide

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OVERVIEW

Your Performance License

Using This Guide

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ow let’s move on to the fun stuff! This guide is designed to provide you with all the background, research, best practices, and expert advice you will need to make your production the absolute best it can be. Reading this guide will save you time and money; it also ensures that the process of putting on a musical doesn’t become overwhelming.

Director’s Guide At A Glance • Overview offers a “big-picture” exploration of the process of producing and directing this musical.

• Script includes the show’s script, directing tips, and a place for you to take notes or write down your staging. You will use this section of the guide the most, so be sure to make it your own.

• Casting includes detailed cast descriptions, best practices for holding auditions, and more.

• Rehearsal details the rehearsal process and includes best practices, from setting up a rehearsal schedule all the way through your final tech and dress rehearsal.

• Design gives specific suggestions for creating the sets, costumes, lights, sound, and props for your show.

• Connections introduces you to the show’s authors, provides classroom curriculum ideas and activities, and suggests ways to connect with your community through your musical.

• Resources includes a sample program, sound cue sheet, and more. Many items included in Resources are also provided through the Downloadable Resources.

• Downloads & Digital Media includes content and credit lists for the Guide Vocal Tracks and Performance Accompaniment Tracks, streaming Choreography Videos, and Downloadable Resources.

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Make The World A Better Place

The information included on the following pages is based on thousands of hours of working with children in all sorts of settings, including in-school, after-school, and professional academies. If you have many years of experience, you are most likely using the same practices that are detailed in this guide. Even so, take the time to review the information included, as everyone can use a little refresher and perspective from time to time. However, if you are new to this world, the information included in the following pages has proven to be highly successful. Like any good recipe, it’s best to follow the instructions verbatim at first.

Once you are comfortable, feel free to expand these suggestions to suit your sense of style, artistic vision, and your production’s objectives.

So now that you know what your ShowKit® includes, what your performance license is, and how best to use this guide, let’s talk about what you’ve gotten yourself into. You are about to direct a musical with kids. It is not going to be easy, but it will be rewarding. By introducing young people to the magic of musical theater, they are going to learn important life lessons that will venture far beyond the arts. They are going to take positive risks and learn to work together for the greater good of the community.

They will explore time management and discipline, and they won’t even be aware they are learning because they’re having so much fun! All thanks to you! You are making the world a better place, and that’s a brilliant and fulfilling thing to do. Thank you!

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he best place to start preparing for a musical is with the script, which you will want to read several times. So let’s get started!

Script Analysis

For your first reading, sequester yourself away from all distractions and interruptions. Choose someplace comforting, like the bathtub, a lovely hillside, or any quiet room with good light and a comfy chair. Then relax and read the script with an open mind. During this first reading, don’t worry about “How am I going to do that?” or “Who’s gonna play that part?” There will be plenty of time to answer those questions and others in the near future. Just read, and let your imagination go wild! And remember to read all stage directions for key information. Authors write the stage directions to provide you and the actors with essential action not included in the dialogue. Also, we test the stage directions in pilot productions, so take advantage of all our work! It will make your job easier and free you to focus on creating and implementing your artistic vision.

Give Your Script Another Read

Let a day or two pass, and read the script again. In this reading, you should concentrate on making broad decisions that will guide your production, like the overall look of the sets, costumes, and props. For example, do you see the costumes as being contemporary or from a certain time period? Are they realistic, exaggerated, or cartoon-like? Ask yourself these same questions concerning the sets and props, and then share those thoughts with your production team. This second reading is a good time to take notes and to start thinking about how you’re going to solve any specific production challenges, like making the carpet fly in Disney’s Aladdin KIDS or making Stanley flat in The Musical Adventures of Flat Stanley JR.

Meet Your Creative Team

Armed with at least two readings of the script and a sense of your artistic vision for the production, you are now ready to meet with your creative team. Minimally, this team will consist of a director (you), a music director, a choreographer, a production stage manager, a set and prop designer, and a costume designer.

Ideally, your creative team will also include a lighting designer and a sound designer.

Creative Team???

If you are reading this and thinking “Creative team – what creative team?” or the words “me, myself and I” more accurately describe the members of your team, don’t worry. It is possible to produce and direct a musical by yourself. However, it is not ideal. If you find yourself in this situation, start recruiting help.

You don’t need specialized help; you can share the information in this guide with willing volunteers and achieve great success! Look for someone with music skills to help with the vocal direction, someone with dance skills to help choreograph, someone who’s handy to help with sets, and so on, to fill out your team.

Your First Production Meeting

Meetings with your creative team are called “production meetings.” At your first production meeting, pass out scripts to your creative team and read the show out loud, including all stage directions. When you come to a musical cue, play the Guide Vocal Track. This is not only a great way for everyone to get a firsthand sense of the show, but it can also be a lot of fun! Next, share your vision of the show, and have the rest of the creative team share their thoughts and identify any challenges they anticipate. End this meeting by creating a rough production calendar and setting some deadlines for the creative team. And don’t forget to set a time and place for your next production meeting.

Music Theatre International • Broadway Junior® • Director’s Guide

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OVERVIEW

Preparing For Your Production

Staging The Show

“Staging” minimally refers to getting the actors on- and offstage throughout your production.

Staging is also commonly referred to as “blocking.” You are ready to block the show once you have met with your creative team and have a sketch of your set. With pencil in hand, read the script and decide each character’s entrance and exit location. In most cases, you will have four available entrances and exits: stage right, stage left, house right, and house left. Remember, the terms “stage right” and “stage left” refer to the actors’ right and left when they face the audience. The “house” is the area where the audience sits.

As you decide each character’s entrances and exits, don’t worry about getting it perfect; you can always change your mind. The key on page B10 of this guide explains the basic abbreviations used by most actors and directors for writing down these blocking notes. Work quickly, as any issues will become obvious during the rehearsal process and can be adjusted accordingly. As you rehearse, you will add additional blocking details and nuances one layer at a time until the show is complete.

Plan The Perfect First Production Meeting and Recruit A Creative Team

One of your jobs as director is to make sure your creative team feels appreciated. Below are some suggestions for planning your first production meeting that will set the right tone for the rest of your production process! You may also use these same ideas to recruit a creative team.

• Hold the production meeting someplace comfortable, like your home, a local restaurant, or a park.

• Make sure you have plenty of food and beverages on hand. Consider doing themed snacks and drinks that match the show for an added sense of fun!

• Take the time to introduce everyone.

• Review the production roles and each member’s area of responsibility.

• Play a theatre game! Check out the Rehearsal section for some options!

This is a great way to remind your creative team of what it’s like to be a kid in the show. It will also get everyone comfortable with each other.

• Provide your team with binders, sharpened pencils, and good erasers.

Make sure you include a production calendar, contact sheet, and copies of the pages from this guide that apply to their respective roles on the team.

• Read through the script as a group. Assign roles and use the Guide Vocal Tracks so everyone gets a sense of the timing and flow of the show.

• Discuss your overall vision for the production. Talk about how the design elements will help the story and advance the themes of the show.

• Discuss the budget for your production and initial ideas for production elements (sets, props, costumes, etc.).

• Review the initial production calendar, including performance dates.

• Schedule additional production meetings.

Once you’ve gotten through these points, make sure to end the meeting on a positive note, like going around and asking each member of your team what they are looking forward to in the process.

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