GUIDELINE 1: At the first rehearsal, make sure each reader has a script. Ask your readers to write their character names and their real names on the front of their scripts. Next, ask cast members to highlight or underline their own lines. Provide colorful highlighters, pens, pencils, or crayons for this job.

GUIDELINE 2: Once highlighting is done, seat readers in a circle and ask them to read the script aloud. Many Take Part! scripts feature special sections where all readers read in unison, together. (A choral reading approach). Pay special attention to these sections, rehearsing the readers until they develop a feel for the proper rhythm and flow of the words or phrases.

GUIDELINE 3: From the very beginning, suggest improvements to a readers projection, posture, pronunciation, intonation, facial expressions, etc. by refering to the character rather than the actual reader. To soften criticism, try saying, "Witch, use your loudest cackle and scariest voice on that line," rather than, "Janice, I can't hear a word you are saying!"

GUIDELINE 4: As rehearsals progress, try to practice in the actual room where you will be giving your performance. If this is impossible, mark off an area which is similar to the stage or performance space you will using on performance day. Arrange your readers, seated, standing, or both, in that space and continue to work on interpretations.

SOFTEN CRITICISM BY REFERRING TO THE "CHARACTER," NOT THE READER!

GUIDELINE 5: When directing, always use proper stage directions. STAGE RIGHT and LEFT are your reader's right or left, not yours as you stand facing the readers. UPSTAGE is behind your readers. DOWNSTAGE is in front of your readers, just in front of the audience:

GUIDELINE 6: Rehearse entrances, exits, and any stage movements until they run smoothly and readers feel comfortable with them.

GUIDELINE 7: You will probably find that lack of vocal projection will be your biggest rehearsal problem. Encourage your readers to project, shout, yell! If your readers speak too quickly or too slowly, remind them to practice at home, concentrate on the specific problem, and go over their lines so often that they become very familiar with them. This type of familiarity usually makes for a well-paced performance in the end.

GUIDELINE 8: All through the rehearsal process, ask for the opinions of your cast members. Be open to creative suggestions about practice and presentation. Try out new ideas and ask cast members to help decide what works and what does not.

GUIDELINE 9: If costume pieces, props, sound effects, or special signs have been added to the presentation, have at least two full dress rehearsals (including all additions) just prior to the performance date. Iron out any extra problems these additions cause during these rehearsals.

GUIDELINE 10: Stress oral interpretation. Rehearse until the piece runs smoothly, but don't ask readers to memorize lines. This is still a readers presentation.

GUIDELINE 11: If possible, hold one last full dress rehearsal in front of an audience. Perhaps another class will act as audience or the principal and office staff. It is always a good idea to work in front of a live audience at least once before the actual performance.

GUIDELINE 12: On performance day, be positive! READERS THEATRE is fun. If the cast enjoys themselves, so will the audience. It's guaranteed!

ASK CAST MEMBERS FOR THEIR OPINIONS AND CREATIVE SUGGESTIONS!

During rehearsals, the director should encourage readers to explore each character part in depth. Emphasizing eye contact, diction, character development, controlled movement or mime, and performance energy will help achieve a well-paced, well-rehearsed performance.

When appropriate, help readers examine the feelings of each character. How does a character feel at the beginning of the tale? How and why do those feelings change as the story progresses? In what ways might each reader communicate these feelings to the listeners? Encourage the use of vocal and volume changes, facial expressions, posture, and varying tempo patterns.

Encourage readers to use their imaginations by adding more elements to the reading performance, if desired. Special hats or costume pieces, masks, props or signs can often help readers tell the tale in a more theatricalized fashion. Keep the additions simple, remembering that some readers will be required to hold the script folder in one hand while managing a prop in the other.

STAGED READING ENTRANCES

READERS THEATRE scripts may include suggested entrance directions for all cast readers. Usually the direction from which a cast member enters will not matter as readers may enter from any offstage areas, Don't be concerned if no offstage areas are available to your performing space. It is possible to have readers enter from the back of the room, walking through or around the audience.

Of course, formal entrances are not necessary, but they do have a place in polished Staged Reading performances. If done correctly, staged entrances help the audience identify certain important characters, and set the mood and tone for the entire reading.

Here is a simple entrance which might be used for any READERS THEATRE script reading:

Arrange readers offstage as they are listed, in order, at the front of your script. Each cast member will carry his or her script in the upstage hand (furthest from the audience).

On a given signal, all cast members walk into the performance space, line up in a semicircle, and face the audience. On another signal, readers lift their script folders to chest height and open scripts to the first page.

At this point, you may wish to have each reader introduce him or herself. One by one each reader steps forward: "My name is Janice Cook and I am reading the part of the witch!" Each reader steps back into line when finished. After the last introduction, the reading begins.

READERS MAY ENTER FROM ANYWHERE IN THE ROOM

GENERALLY, A STORYTELLER FOCUS IS USED WHEN PRESENTING READERS THEATRE

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