Recharging the Spirit of Theatre Educators
Plus, your weekly round-up of theatre news you may have missed!
Welcome to The Scene, your weekly round-up of theatre news you may have missed. In this week's edition:
We dive into creative strategies for theatre educators to recharge during the summer, helping you reignite your passion, spark new ideas, and step back into the classroom with renewed energy for the school year ahead.
Next, we tackle the ongoing debate about double-casting lead roles in high school productions. Discover the pros, the cons, and expert-approved best practices to decide when it truly benefits your show and your students to share the spotlight.
And don’t miss this week’s free read from Playscripts: O. Henry's Guide to the Present by Stephen Gregg, available now for your theatrical enjoyment.
So, raise the curtain and shine the spotlight as we dive into another thrilling week in the theatre world. Welcome to The Scene.
Broadway, Backstage by Michael Paulson, The New York Times | Go behind the curtain at “Buena Vista Social Club,” “Sunset Boulevard,” “John Proctor Is the Villain” and “Oh, Mary!” Read...
Ragtime Is Getting a Broadway Revival at Lincoln Center Theater by Logan Culwell-Block, Playbill | Joshua Henry, Caissie Levy, and Brandon Uranowitz will reprise their performances from the New York City Center Gala staging. Read...
Clooney Brought Edward R. Murrow to Broadway. Next Stop: CNN by Michael Paulson, The New York Times | In June, the news organization is planning a live broadcast of one of the final Broadway performances of “Good Night, and Good Luck.” Read...
Learn Why It Took Cole Escola 15 Years to Finally Write Oh, Mary! by Logan Culwell-Block, Playbill | The two-time Tony nominee shared the Broadway play's origins in 2009 on a recent visit to CBS Sunday Morning. Read...
Charles Strouse, Composer of Annie and Bye Bye Birdie, Dies at 96 by Robert Simonson, Playbill | Amongst the legend's songbook were "Put On a Happy Face," "Tomorrow," and "Those Were the Days." Read...
Branden Jacobs-Jenkins on Winning a Pulitzer for ‘Purpose’ by Michael Paulson, The New York Times | “It’s the most surreal day ever,” the playwright said as he learned the news while getting ready to attend his first Met Gala. Read...
Darren Criss Does the Robot by Rachel Sherman, The New York Times | He trained as a movement actor. Now he’s leaning into physical theater as a Helperbot in the Tony-nominated “Maybe Happy Ending.” Read...
Don Zolidis' The Price Is Now Available for Licensing From Playscripts by Molly Higgins, Playbill | The one-act play follows a young mother on a journey to bring her child back home. Read...
The Big Idea
Recharging the Spirit of Theatre Educators
By Zach Dulli, The Scene
As the school year begins to come to an end, it’s essential to take a moment to pause, reflect, and prepare for the challenges and triumphs ahead. For you, the high school theatre educators, this is your moment. You've poured your hearts into classrooms and rehearsal halls, given countless hours behind the scenes, nurturing the voices, talents, and dreams of our young people. Now, it's time for you to recharge, renew, and reignite your own passion.
Let me start by saying thank you. Your work is extraordinary, your dedication unwavering, and your impact profound. You've taught students not just how to act, sing, or dance but also how to empathize, collaborate, and communicate. You've shown them that theatre isn't just an art form, it's a way to understand the world and each other. And for that, our communities owe you a debt of gratitude.
This summer, take time to reconnect with the roots of your love for theatre. Open a favorite script, revisit a play that once moved you profoundly, or discover new voices and perspectives. Explore stories from playwrights whose experiences differ from your own, because the beauty of theatre lies in its power to build bridges across divides, to foster empathy, and to inspire change.
Embrace learning again. Attend workshops, masterclasses, or seminars. Whether it's directing, playwriting, technical theatre, or performance, immersing yourself in new skills can spark fresh ideas, renewing your enthusiasm and sharpening your craft. Remember, the best teachers are those who never stop learning.
Don't underestimate the power of connection. Gather with colleagues and share your stories, struggles, and successes. Theatre education thrives on collaboration and community. When you come together, you remind yourselves you're part of something bigger, an incredible, vibrant community dedicated to changing lives through the arts.
Most importantly, give yourself permission to rest. Take walks, enjoy time with family, savor quiet moments. Recharge your body and spirit. Remember, caring for yourself isn't a luxury, it's essential. You cannot pour from an empty cup; when you're rested and rejuvenated, your students, your program, and your community all benefit.
Finally, let yourself dream again. Imagine the next season, filled with possibility and promise. Envision your students stepping onto the stage, confident and empowered because of your guidance. Dream boldly about the stories you'll tell, the voices you'll amplify, and the lives you'll touch.
You are more than educators; you are leaders, artists, mentors, and visionaries. Your passion lights the way, and your dedication shapes the future. So, this summer, recharge, reconnect, and return ready to inspire, transform lives, and lift your voices high, knowing that the work you do truly makes a difference.
Thank you for your commitment, courage, and belief in the power of theatre to change lives.
Cynthia Erivo to Lead Solo Dracula Play in London by Margaret Hall, Playbill | The production will be director Kip Williams' follow-up to his hit solo adaptation of The Picture of Dorian Gray, currently playing Broadway. Read...
Chaka Khan Bio Musical I'm Every Woman Sets 2026 London Premiere by Logan Culwell-Block, Playbill | Racky Plews is directing the new jukebox show, which features a book by Nia T. Hill. Read...
West End Transfer of Terence Rattigan's The Deep Blue Sea Opens by Andrew Gans, Playbill | Lindsay Posner directs the revival at the Theatre Royal Haymarket. Read...
Every Brilliant Thing to run in the West End with Star Cast by Alex Wood, WhatsOnStage |The much-loved show will come to the newest West End venue @sohoplace. Read...
St. Louis' Muny Honored With 2025 Regional Theatre Tony Award by Logan Culwell-Block, Playbill | The century-old outdoor theatre will receive a $25,000 grant as part of the honor. Read...
New Production of Here Lies Love on Tap for Center Theatre Group by Linda Buchwald, Theatre Mania | It will also include &Juliet and the 25th anniversary production of Mamma Mia! Read...
New Musicals from Nick Blaemire, Ryan Miller, Rebecca Simmonds, and Jack Miles are Set for Signature's 2025-2026 Season by Andrew Gans, Playbill | The Arlington, Virginia, venue will also present a reimagined Fiddler on the Roof and plays by Miriam Battye and Shayan Lofti. Read...
Judy Kaye and Bernard Dotson Will Lead Driving Miss Daisy at Theatre Aspen by Andrew Gans, Playbill | The Colorado venue has also announced casting for its summer productions of Mamma Mia! and Million Dollar Quartet. Read...
The Double-Casting Debate: Is Two Better Than One?
by Zach Dulli, The Scene
Double-casting a lead role can feel like the perfect solution when you have two equally talented students vying for the same part—or when you’re worried about the unpredictability of student schedules, illnesses, or emergencies. However, while it can offer benefits, double casting also introduces unique challenges that require careful planning and communication. Before committing to this approach, weighing the pros and cons and deciding whether it truly serves your production and your students is essential.
The Case for Double-Casting
More Opportunities for Students - High school theatre often attracts a wide range of talent, and double-casting allows you to give two performers a chance to take on a lead role. For programs with large pools of skilled actors, this can be an excellent way to acknowledge their hard work and commitment. It also helps reduce student competition and jealousy as both actors get their moment in the spotlight.
Built-In Understudies - With double-casting, a second performer is fully prepared to step into the role if one actor becomes unavailable. In a world where students juggle school, extracurriculars, and family obligations, having a backup can save you from last-minute panic if something unexpected happens.
Development of Unique Interpretations - Double-casting can be a creative gift. Each performer brings their own energy and perspective to a role, which can lead to fresh and diverse interpretations. If you’re showcasing two casts, audiences might enjoy seeing how the same character is portrayed differently.
Minimizing Hurt Feelings - Casting is often the most emotional part of the production process; double-casting can help diffuse some of the tension. When two students know they’re sharing the spotlight, it can foster collaboration and camaraderie instead of rivalry.
The Challenges of Double-Casting
Rehearsal Time Management - Double-casting means you’ll need to rehearse both performers equally, which can double your workload. Balancing rehearsal schedules to ensure both actors feel adequately prepared is no small feat. You’ll also need consistency in blocking, choreography, and timing, which can be difficult when two performers bring different styles and instincts to the role.
Inconsistencies Between Performances - While unique interpretations can be a strength, they can also challenge the overall cohesion of your production. The rest of the cast must adjust to subtle (or not-so-subtle) differences between performers, which can disrupt chemistry, pacing, and flow.
Audience Confusion - If your production alternates between two casts, audience members who see different performances might feel confused or compare the two leads. This can lead to unnecessary scrutiny, especially if one performer is slightly stronger.
Potential Resentment - Double-casting doesn’t always eliminate jealousy. If one performer is perceived as being favored or gets more attention during rehearsals, the other may feel slighted. Additionally, students who aren’t double-cast may wonder why they weren’t given the same opportunity, which can stir up feelings of unfairness within the group.
When to Consider Double-Casting
Double-casting works best in specific scenarios:
When you genuinely have two performers of equal talent and potential who are both strong fits for the role.
When the demands of the role are so high (vocally, physically, or emotionally), splitting performances would give each actor the stamina to deliver their best work.
When you’re working with an extensive and competitive program where double-casting could ease tension and give more students meaningful opportunities.
Best Practices for Double-Casting
If you decide to double-cast, clear communication and strategic planning are essential. Here’s how to make it work:
Set Clear Schedules Early - Decide upfront how performances will be divided. Will each actor alternate performances, or will each cast perform on certain nights? Communicate this schedule to students and parents immediately to avoid confusion or last-minute changes.
Ensure Equal Rehearsal Time - Devote equal rehearsal attention to both performers. This might mean running scenes multiple times or scheduling separate rehearsals for each cast member. While it’s extra work, it ensures both students feel equally prepared and valued.
Encourage Collaboration - Foster a spirit of teamwork between the two performers. Encourage them to share ideas, rehearse together, and support each other’s growth. This will help the students and set a positive tone for the entire cast.
Communicate with the Cast and Crew - Let the rest of the cast know how you plan to handle double-casting and explain why you’ve made this decision. Encourage ensemble members and scene partners to be flexible and adaptable when working with two different performers.
Prepare for Audience Reactions - If your show will feature two different leads on alternating nights, consider including a note explaining the double-casting decision in the program. Highlight how it enriches the production and showcases your students' talent and dedication.
When Not to Double-Cast
Sometimes, the best decision is to stick with a single lead. Avoid double-casting if:
You feel pressured to do so to avoid difficult conversations with students or parents.
One actor is significantly stronger than the other, as this can lead to feelings of inadequacy and audience comparisons.
You don’t have the time or resources to prepare both performers equally.
Double-casting can be a rewarding experience for your cast and production when done thoughtfully. By carefully evaluating your reasons for double-casting and planning ahead, you can ensure it’s a positive and enriching process for everyone involved. Whether you choose one performer or two, the key is to prioritize the needs of your production while fostering growth and collaboration among your students.
Free Reads of the Week
Read entire plays for free! Playscripts offers a selection of full-length and one-act plays that you can access for free, which is ideal for use in theatre productions, school performances, or competitions. To explore these titles, click on the cover image below or select the "READ FOR FREE" button at the bottom of this section. This action will direct you to the play's page on the Playscripts website. Once there, click "READ NOW" to begin enjoying the play immediately!
O. Henry's Guide to the Present by Stephen Gregg
The Story: The romance, betrayal, longing, and joy of six of O. Henry’s best short stories intertwine at the Vallambrosa rooming house, where Della Leeson lands after she’s abandoned by her new husband. Della slowly builds a life for herself in New York City: finding a community, overcoming tragedy, and falling in love. O. Henry’s twists take Della in unexpected directions, pulling her into the lives of the Vallambrosa’s other quirky residents. Full of whimsy and eccentric characters, O. Henry's Guide to the Present showcases the beloved writer’s work at its most human.
Genre: Comedy/Drama | Run-Time: 80 - 85 minutes | Casting: 7 W, 8 M, 20 Any (18-35 actors possible: 7-22 W, 8-28 M) | Set: Various locations mostly in New York City. Can be performed with a minimal, flexible set.
Please note: From May 15 to August 15, The Scene will be moving to a bi-weekly publishing schedule. We'll return to our regular weekly schedule after that. Thanks for your continued support, and have a great summer!
