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Teens Rule the Berkeley Rep Teen One-Acts Festival

Every spring, the Berkeley Rep School of Theatre invites local teens to participate in a new works festival written, directed, designed, and performed by their peers. Unlike most opportunities for teens, recent college grads guide them through the production process, but the teens carry the bulk of the work. The process is exhilarating, exhausting, and inspiring to watch both onstage and off.

The process for the Teen One-Acts Festival begins in mid fall, when the school’s Teen Council—a diverse group of 9th-12th graders committed to cultivating the next generation of theatre makers and audiences—calls for submissions for one-act plays. The school holds a workshop, and playwrights have about a month to conceive their works. Plays range from period mysteries to futuristic multi-planetary adventure tales. Submissions are reviewed by a committee of select Council members, School of Theatre staff, and Berkeley Rep Fellows. The close-working relationship between the fellowship program and Teen Council makes this program unique—every year the theatre houses fifteen young theatre artists in a range of departments—artistic, production, development, and marketing—giving recent college grads a jump start on their career with real-world LORT theatre experience. Together the Directing Fellow and Literary Fellow help guide the committee in choose two one-hour plays the festival fully produces.

For teens like Morgan Saltz (center), the Berkeley Rep School of Theatre is a place that fosters imagination, exploration and creativity. Photo courtesy of kevinberne.com
For teens like Morgan Saltz (center), the Berkeley Rep School of Theatre is a place that fosters imagination, exploration and creativity.
Photo courtesy of kevinberne.com

After two plays are chosen, the playwrights are mentored through editing and revisions to tighten scenes, rework characters, and make the production feasible on the small stage of Downtown Berkeley’s Osher Studio. The next few months focus on outreach, getting teens from public schools, private schools, and home schools involved. Some are already Teen Council members, spending all four years working on the One-Acts Festival, others get their first glimpse at theatre outside of school.

The design fellows throw workshops, teaching the principles of costume, scenic, lighting, properties, and sound design. From these workshops teens sign up for technical disciplines, while others try their hand at stage management or producing. The Development and Marketing Fellows guide a small group of teens in publicity, graphic design, ticket sales, and promotion, a side of theatre rarely experienced before college.

Of course, acting and directing are the most coveted roles in the festival, but for those who participate multiple years, they usually get the opportunity to work both on and off stage. There challenges are similar to any high school actor’s: playing your peers parents or grandparents, swearing onstage in front of your parents, impressing your crush. The biggest difference is taking direction from a fellow teen. While any high school experience is met with the challenge of personalities, egos, and insecurities, the mentorship of the Fellow program keeps the experience focused on the process of creating professional theatre.

After casting and technical assignments, students begin rehearsal. Stage managers are trained to run rehearsals and note sessions the same way an Equity stage manager would. For many high schools across the country, the notion of a student learning anything about stage management is out of the question. Weekly production meetings are held with designers and their mentors, just like professional theatre. The teens are given the chance to teach themselves how to communicate effectively, skills that many designers and directors don’t attempt until half way through college. Berkeley Rep’s generous production department lends costumes and props, while the production fellows do the bulk of the physical labor, building student’s designs, hanging the lights, and training an eager pupil how to use a sound board. The work isn’t easy. Teens are balancing their festival duties with their school work, and the festival usually falls during AP test prep. The fellow class is always in the middle of a large production, the annual gala, and prepping for their professional lives after the fellowship ends. While both parties are tired, stressed, and overworked, students have the opportunity to learn from young professionals who were just like them a few years ago, while Fellows have their first shot at mentoring. The lines are blurry when it comes to where Fellows step in to tell teens how to create their festival elements—for the most part Fellows want to offer guidance, and teens are hungry for direction.

Caption: (l to r) Rachel Lee and Julianna Aker enjoy a costume seminar for teens at the Berkeley Rep School of Theatre. Photo courtesy of kevinberne.com.
Caption: (l to r) Rachel Lee and Julianna Aker enjoy a costume seminar for teens at the Berkeley Rep School of Theatre.
Photo courtesy of kevinberne.com.

In late spring, the year’s work comes to fruition with a two-weekend run of the festival. Everyone wears their company t-shirt (usually designed by the Graphic Arts Fellow). They sell concessions before the show. They give programs to their family and friends, and at the end of the two long weekends, they strike the show.

Many professionals from the Bay Area start their career, long before they know it, with the Teen One-Acts Festival. In fifteen seasons, the program has given over four hundred students the opportunity to take a show from idea to reality. Lauren Yee, playwright of King of the Yees, and actress Madeline Waters, Diary of a Teenage Girl, are just two of the amazing One-Acts alumni. Perhaps the greatest part about this after school program is that it’s completely free.

For more information about the Berkeley Rep School of Theatre Teen Council and One-Acts Festival, please visit their website.

 

masks tya

Theatre for Young Audiences: An Enchanting Genre

CC0 License https://pixabay.com/en/festival-mass-kid-994132/Children’s Theatre gets a bad rap. It isn’t just productions of Annie, cast with future child stars, or Shrek, performed by a company of 12 year olds. People say, “It’s for children; adults just have to sit through it.” Or, even worse, some think it’s a fluff genre, with no substance. It’s as if a play for children doesn’t merit the same artistic credibility as a play for adults. Glitter, polka dots, and silly songs, can’t compare to Brecht, Stoppard, and Mamet.

These misconceptions couldn’t be further from the truth. Theatre for Young Audiences (TYA) is making waves, breaking molds, and giving artists endless creative opportunities fostering the future of theatre.

For Performers:

How often do you get the opportunity to personify a crayon? How about playing a ladybug? My guess is, not very often. But in the wonderful world of TYA, wacky, strange, and thoughtful roles exist in every production. There are no boring bit parts. The work is hard, but it’s worth it. Every role matters, and the audience will make sure you know that.

Kids are the toughest critics. They see the joy and truth in the world the rest of us have forgotten. There is no dumbing down of scripts for TYA—audiences are young, but sophisticated. They don’t laugh when adults laugh. They sense actors emotions, and they know when performers aren’t giving 100% to their character. Acting for an audience of K-12 gives actors a thicker skin, while landing a special level of celebrity status. YOU are the infamous Fancy Nancy, or Pippi Longstocking, or Frog and Toad those children have spent so much time reading about, dressing up as, or dreaming to meet someday. You’ve brought their fantasies to life in front of them, no TV set required. That, my friends, is magical.

Photo Credit: Hanay
Photo Credit: Hanay

For Lovers of New Work:

Children’s publishing never has a dry spell. More picture books, chapter books, and epic rhyming poems take the page every year, ready for theater adaptation. Age-appropriate adaptations based on the classics is over—all the cool books become plays now. Nothing boring, nothing you wouldn’t want to watch yourself. Plays for children are no longer, strictly, plays for children. They are as smart and insightful as the books they are based on. Fly Guy, the story of a boy and his fly best friend; Fancy Nancy, the girl that loves to dress fancy; and the crazy adventures of Ivy and Bean are nothing like the stories that used to take the stage.

Authors are optioning their book rights to individual theatres or group of theatres, with plans to develop, write, and coproduce world premieres. We’re talking cutting-edge theatre about flies, spies, buddies, and bullies. This not only gives playwrights and directors the opportunity to develop new work, but it also gives designers the opportunity to be the first to create these characters and their environments. The rate at which TYA new works are being made today is staggering in comparison to the number of plays and musicals written for adults that hardly see a workshop let alone an actual stage. TYA new works are getting produced, period.

For Artists Looking to Make a Difference:

For many children, their first TYA experience is their first theatrical experience. Some parents might not be theatregoers themselves, but want to seek out enriching family experiences. The chances of those children and those adults seeing more theatre after their TYA introduction is huge. Future theatre audiences are cultivated during each performance. Early exposure to the arts sparks creativity in future innovators of the world. The children are our future, and TYA gives them an early introduction to the arts.

For children whose might not be able to afford shows, many TYA companies hold student matinees. Teachers have the opportunity to expand curriculum—focusing lessons around a play’s original book and themes, before and after seeing the show. Kids experience theatre etiquette and art appreciation, making connections between their lives, their books, and an art form they otherwise might never experience.masks tya: CC0 https://pixabay.com/en/festival-mass-kid-994132/

For Fun-Seeking Artists:

At the end of the day, we play pretend for a living. But, sometimes it’s nice to know the playing doesn’t have to be so serious. Developing, producing, and performing works for children challenges in the adult brain. Will this musical number hold the attention of a five year old? If not, how can we make it? Does this costume read as cat, but also give the audience a human to identify with? Is this lighting too scary? Can we get a grant to fund more scholarship field trips? These are questions asked every day in the world of TYA. The work is still hard, but after every performance, the entryway fills with dozens of excited little voices, ready to meet their favorite characters, read more stories, and eventually see more plays.

News, thoughts, opinions and advice for the performing arts community.