From Backpacks to Broadway by Rajan Rekha S.;Heath Dr. Shirley Brice;

Author:Rajan, Rekha S.;Heath, Dr. Shirley Brice;
Language: eng
Format: epub
Publisher: Rowman & Littlefield Publishers

Figure 4.1 Seven-Year-Old Boy’s Picture Before the Show.

Figure 4.2 Seven-Year-Old Girl’s Picture Before the Show.

Additionally, almost all the children’s journals included a page with signatures from several of the other performers. When asked to describe why they included a page with signatures (or why they wanted everyone to sign the page), the children stated that it was so they could “remember” their friends.

Finally, the children described their interest in continuing to participate in musical theatre, and similar to their responses during our second conversations, the children unanimously said, “yes.” When asked to elaborate, children responded with their expectations that future participation would provide them with opportunities for meeting with old friends, making new friends, and allow them to continue performing—singing, acting, and dancing.

The novel experience of observing oneself during a rehearsal, elicited various physical and verbal responses from the children. While some children cherished the opportunity to observe themselves performing, and reflected on the memories of the experience, others struggled with their self-reflection, finding discomfort with their observations through self-criticism and self-doubt.

A month after the conclusion of Willy Wonka, Jr., children’s learning and understanding of musical theatre were represented through their individual self-assessments, their awareness of their abilities, and their growth as performing artists. Children assessed their abilities through their reflections and observations, recalling the moments in which they were still learning about their roles, and those in which they were proud of their performance.

REFLECTIONS

The process of auditioning, being cast in a show, rehearsing, and performing was an experience filled with personal feelings of excitement, happiness, anxiety, and fear. The fear and anxiety they initially described about the rehearsals was often diminished through the friendships they made and relied upon.

This constructed social structure included having individuals with whom to relax, work hard, and share memories. Whether participating in the first, or one of many shows, the social experience was a central component of children’s motivations to participate, and desires to continue auditioning. This was also evident in both school-based case studies, particularly in the after-school setting where children auditioned only with their closest peers.

Fourteen of the children from this setting were cast in the community theatre’s subsequent production, Pinocchio, Jr., while three of the children pursued agency representation and began auditioning for television commercials and professional theatre productions.

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