Musical Theatre

Curriculum Overview- Eaglecrest High School

Unit Standards Desired Results Activities/Resources

Intro CO Theatre Every student will know class ● Notecard

Standards: expectations while learning about ● Hand out syllabus
1. Create 1, 2 the rules of improv. and setting ● Warm-up leader sign up
up classroom norms. ● Games
● Intro Musical Individual Project
○ Give kids a chance to sign up

Musical Theatre CO Theatre Students will discover American ● Use the Fly Over Musical Theatre History PowerPoint
History Standards musical theatre history through a and Notes to give an introduction
1. Create 1, 2 look into decades from 1920-2000s. ● Walk students through The History of Musical Theatre
2. Perform 1 Students will recognize how history PowerPoint with the Musical Theatre Notes doc
3. Critically and theatre not only intersects but
Respond 2, 3 influences one another.

Acting Refine new work Students will demonstrate an DAY ONE:

through play, understanding of the use of good Flexibility Exercises:
drama processes movement as it connects to -Lead the class through the Flexibility PowerPoint
and theatre musical theatre by performing a -Then lead a relaxation meditation:
experiences culminating scene. Musical ● Have students think about their day, what they have
using critical theatre performers use their done, and what they still need to accomplish. Ask
analysis and bodies to sing, to dance, and to them to release all their cares and to concentrate on
experimentation - act. We must think of our bodies relaxing their bodies completely.
Grade HS as instruments and learn to use ● Lead the class in several repetitions of deep
Proficient our instruments properly in order breathing. Allow the music to play quietly while the
to be better musical theatre students continue breathing. Give this plenty of time
TH:Cr3.1.HSI.b - performers. I for the students to clear their minds.
Explore physical, ● Tension and release exercise: Starting with the toes,
vocal and have them squeeze their toes as tight as they can,
physiological exerting as much tension as they can expend, for ten
choices to seconds.
develop a ● Then let them release and breathe deeply for ten
performance that seconds. Repeat this same process throughout the
is believable, whole body.
authentic, and ● After the tension and release exercise is completed,
relevant to a have them breathe deeply for several minutes while
drama/theatre enjoying the state of complete relaxation they have
work. achieved.
● Have them scan their bodies, and if any remaining
Convey meaning tension is existing, have them breathe deeper and
through the send oxygen to the tense places in their body. It is
presentation of important to allow plenty of time for this to really set
artistic work - in with the students.
Grade HS ● Have students—while leaving their eyes closed—
Proficient come to a sitting position on the floor.
● When they have reached their position, and are
TH:Pr6.1.HSI.a - sitting as they wish to, ask them to open their eyes.
Perform a ● Ask students how they feel. Allow them to express
scripted honestly if the exercise relieved anxiety and/or
drama/theatre depression. To relax means to calm the mind and
work for a the body. Do you feel that this exercise helped you?
specific DAY TWO
audience. Movement and Action Verbs:
Hook (30 minutes)
Apply criteria to 1. Hand the students a blank piece of paper, then have
evaluate artistic them close their eyes and draw whatever
work - Grade HS they want. Yes—have them draw with their eyes closed.
Proficient 2. Collect the pictures before the students have opened
their eyes. Mix the pictures up and pass
TH:Re9.1.HSI.c - them back out making sure that the original drawer does
Formulate a not receive their own picture.
deeper 3. Have students individually perform a depiction of the
understanding pictures they are holding.
and appreciation 4. Play some up beat music for the students to help with the
of a drama/ interpretations. However, words
theatre work by may not be used.
considering its 5. Have students turn their papers over and write a word
specific purpose that describes that picture.
or intended 6. Combine the students into groups of four or five. Ask
audience. them to create a scene to perform for
 the class that incorporates all their pictures and displays
Develop and each of the verbs listed on the back
refine artistic of the picture.
techniques and 7. Give students 10 minutes to rehearse, and then have
work for them perform their scenes.
presentation - 8. After each performance, ask the class which emotions
Grade HS they saw and what caused them to believe those were the
Proficient emotions portrayed.
9. Compare the audience interpretation with the performers.
TH:Pr5.1.HSI.a - Did the performers communicate their intentions? What
Practice various were they trying to convey? How did they decide to use the
acting techniques physical delivery chosen?
to expand skills
in a rehearsal or DAY THREE
drama/theatre - Teach OOOT:
performance. -Create a list of action verbs on the board
Activity:
Generate and 1. Show the class a video clip of “Don’t Let Me Go” from the
conceptualize musical Shrek.
artistic ideas and 2. After students watch the clip, ask them to answer these
work - High questions:
School Proficient ● What did Shrek want? Is his objective clear?
● Why did he want it?
TH:Cr1.1.HSI.c - ● What did he do to get what he wanted?
Use script ● What obstacles were in his way?
analysis to ● What did Donkey want? Is his objective clear?
generate ideas ● Why did he want it?
about a character ● What did he do to get what he wanted?
that is believable ● What obstacles were in his way?
and authentic in 3. Talk about the action words: Donkey sang a song. He
a drama/theatre begged. He chased. Shrek ran.
work. 4. Play the clip again, and point out the action verbs that
you see in the movement of the
Select, analyze, characters.
and interpret - Review OOOT as an exit slip
artistic work for DAY FOUR:
presentation - Teach (15 minutes)
Grade HS 1. As musical theatre performers, you must create a
Proficient strategy to achieve your objective. A character will use a
certain action to get their objective. They switch actions
TH:Pr4.1.HSI.b - when they feel it
Shape character is not working anymore. Make sure when you pick actions
choices using that you are using playable words.
given 2. Pass out The Acting Verbs List handout.
circumstances in 3. Ask students to look through the list and choose one of
a drama/theatre the acting verbs.
work. 4. Ask each student to tell the class the acting verb they
chose and how they might act it.
Activity
1. Direct the students’ attention to the board where you
have written the two sentences: A: I’m sorry. I just don’t
need you anymore.
B: I’ll never let you go.
2. Assign pairs of students (A and B) to sing these lines to
each other while demonstrating
conflicting objectives. There is no designated tune. If they
get stuck on this step, tell them to
sing the melody of a nursery rhyme or common children’s
song.
3. Tell students to pick an acting verb to use as a tactic to
get what they want as they sing their
line. How are they going to physically show their tactic
using their bodies, as they sing the
lines?
● Variation: It may be easier for the students to deliver the
scene if they are given a situation; for example, a patient
talking to their doctor.
4. Have students present their small scene. Ask the
audience if they can guess the acting verb. If they can’t,
discuss suggestions for how to physically “show” the verb.

DAY 5:
Warm-up: Ask students: What does inanimate mean?
(For the purpose of this lesson, we are going to say that
anything that is not human is
inanimate. I include pets in this list because, while
technically animate, they’re not human.
They don’t talk unless the musical they are in is a fantasy.
Many times, they serve as friends
and partners with characters, comfort them when things are
rough, and can definitely help them smooth some rough
edges.)
1. Watch two clips from The Wizard of OZ
● “If I Only Had a Brain”: Dorothy meeting the Scarecrow
● “If I Only Had a Heart”: Dorothy meeting the Tin Man
2. Talk with students about the different movements each of
the characters had that helped
them to be a tin man or scarecrow. Discuss the contrast
between human movements and non humanistic
movements.
3. Can you think of musicals that have inanimate objects
that come to life? You will get answers
like Beauty and the Beast, Wizard of Oz, Frozen, Aladdin,
Mary Poppins, Pinocchio.
4. Acting coach Jane Marla Robbins says, “You play an
animal in much the same way that
you play a character. This is the same way we must think
about playing objects like trees,
candlesticks, snowmen, or tea cups. You must ask yourself
many of the same questions and try
to act the answers out with your body.”
5. Ask students to pick an animal. Tell them to find a space
on their own in the room and close their eyes.
6. Ask students to think about their animal and consider the
following. Tell them to move in
place in response to the questions, keeping their eyes
closed.
● If your body is your animal’s body, how does it feel?
● Where is the animal more relaxed than you are?
● Where is it heavy?
● How does it move its mouth? Its ears? Its cheeks?
● How does it lie down, sit, crawl, walk, or roll over?
● What’s it like to have a tail? Exaggerate this.
● How does it feel to have hair as long as your animal’s?
How long is it?
● Are its eyelids heavier or lighter than yours?
● What kind of sounds does your animal or object make?
Dare to be outrageous here.
Really trumpet that elephant or let that lion roar. Really
jabber that monkey. And when
you hoot as that owl, can you feel its eyes, open and
staring?
7. Ask students to move around the room as their animal.
As they move, repeat the questions
and encourage students to physicalize and respond to the
questions fully.
8. Discuss the exercise. What was it like to think about
physicalizing an animal so specifically?

DAY 6:
Nonverbal Communication:
HOOK: Have everyone stand and move about the room.
Play music that suggests the first
atmosphere: a church.
- Ask students to walk around the room. Encourage
students to use physical gestures that would fit the situation
the music suggests. Ask students to think about the
emotion that the music inspires. As they take on the
physicality of this person, what emotions do they feel? How
can they show this?
-Return to neutral, repeat the exercise with the other pieces
of music suggesting the different atmospheres: football
game, dance party, elevator. Keep referencing the physical
action and
the emotion that the different atmospheres create.
Teach
1. Nonverbal communication is the communication that we
say with our facial expressions,
gestures, hand movements, body movements, eyes, and
stance. It is everything we tell others
without saying a word. Some of the most important things
that any actor (musical theatre or
straight theatre) communicates the character’s emotions.
Emotions are like paint colors—complex. Just as there are
many different shades of each
color, there are many different shades of emotion. For
example, red has many different
shades. There is maroon, pink, crimson, rose, wine, ruby,
and so on. Now think of happy;
the shades of happy are cheerful, merry, joyful, jovial, jolly,
gleeful, carefree, untroubled,
delighted, smiling, beaming, grinning, lighthearted, pleased,
content, satisfied, gratified, buoyant, radiant, and sunny.
Each shade of emotion can be communicated nonverbally
with your movement.
3. Using the Emotions List handout, give students an
emotion to portray while walking around as the person they
observed. Side coach said that students should show
emotion in their bodies.
They should think about their facial expressions, hand
movements, and body movements.
Where do their eyes look? What is their stance?
Periodically ask students to freeze and stand as they show
the emotion.
● Repeat this exercise with a similar emotion to the
previous. Remind students that emotions are like paint
colours—there are a variety of shades. What is different
about
this similar emotion? How do you physically express this
similar but different emotion?
● Have students go back and forth between the two
emotions. Is there a physical difference? What are students
communicating non-verbally?
● Repeat the exercise with a different pair of similar
emotions. Make the second pair a
contrast to the first.
4. Discuss with students how that felt. What was it like to
focus on physicalizing the emotion?
What was it like to figure out how to communicate similar
emotions? Ask if the students have
any questions.
Activity (25 minutes)
1. Divide students into groups of three. Assign two students
to act out a silent scene, and
have the third person direct. The students must show
nonverbal communication with their
designated emotion.
Scene: A person has been waiting at the bus stop for
twenty minutes and is frustrated
because the bus has not yet come. A nearby shopper
comes to wait for the same bus and
is in a hurry to get to a meeting. Decide on the emotion of
the second shopper. Are they
anxious? Happy? Sad? Choose an emotion. The shopper
asks the person waiting what time it
is and when the bus will come. They wait together for a
while and leave on the bus together.
2. Groups perform the scenes. Ask the audience to identify
the emotion of the shopper. Ask the audience to identify the
physical, nonverbal communicative ways the shopper
demonstrated
the emotion. If it’s not clear, ask for suggestions. Allow the
directors an opportunity to tell the
class their ideas and directions. Talk with students about
each scene—discuss what worked, what didn’t work, and
what they might do if they had an opportunity to perform
again.
3. After the scenes, talk with students about the importance
of using physical variety. Be sure to let students talk and
draw their own conclusions.
Closure
1. Experts believe that
nonverbal communication makes up 65 to 95 percent of our
communication.
2. Ask:
● What is something you learned today that you didn't know
before?
● How will this lesson help you as a musical theatre
 performer?

Singing Acting the Song Activity

Music Exploration
Turn on some music and ask students to pay attention to
how the music makes them feel.
Invite them to do what it makes them feel. If they want to
dance, get up and dance. If it makes
them want to sway, play air guitar, or clap along: great! It’s
ok if it isn’t their style, but ask them
to think about why. What is different about it? Play a 30-60
second selection depending on
the time you have and the dynamic of the class. Switch to a
song with a different style, genre,
or emotion. Play at least two different selections, so that
they can compare and contrast the two.
Play the first piece again and ask students what they
experienced. What emotions did this
music make you feel? What kind of character do you see
singing this? A jealous girlfriend? A
lovesick boy? Your best friend who just loves to have a
good time? Any stories come to mind?
Play the second piece and ask the same questions.
Ask students to help you list on the board different things
that we can do in music to make
it interesting? What different tactics can you use? Write
these on the board. (If you have not
already covered basic music terminology, this will be a
good opportunity to assess your students’
prior knowledge. You can also go through the handout, if
you think it would be beneficial.
If you have already covered it, this is a good review of
vocabulary.)
1. Dynamics – Volume
2. Tempo – What is the rhythm, beat, speed?
3. Accompaniment – What instrumentation is there and how
does that impact the song?
4. Word choice – Remember Shakespeare? Music is
poetry. How do the sounds of the words
play a part in telling this story? What words/phrases are
repeated and how do they change?
Why do they keep repeating that phrase or word?
5. Styling – How do the genre, voice placement, and
interpretation shape the performance?
6. Shaping – How does the music transition and change?
When does it build to a climax? –
How do we know this? What has changed in the music?
(eg: When Jo sings “Astonishing”
from Little Women for the 7th time in a full belt with the
music crescendoing behind her as
opposed to her first “Astonishing” that was almost
whispered at the beginning.)

Song Lyric Monologues

- Find lyrics
- Write as a paragraph
- OOOT
- Practice and perform
Activity: “Happy Birthday”
Remind students that, as musical theatre performers, their
job is to tell a story. This takes
preparation, as they can see from what they have broken
down. This activity can be done with
other songs as well – even nursery rhymes, if you prefer.
1. Ask students to review with you how to sing “Happy
Birthday.” Put the lyrics up on a
screen.
2. Now they know the tune and the lyrics. Tell students their
job as performers is to interpret
this song and bring it to life.
3. Review with students the definition of the term
“objective.” Objective=What a character
wants, a character’s goal.
4. Students will move around the room. When you say stop,
they find a partner. Each pair
will sing “Happy Birthday” to a partner.
5. As they sing, students must fulfill an objective. Inform
students that they will be assigned
an objective or goal. (As you repeat the exercise, you will
get to a point where you can
let students choose their own objective.)
6. Not only do they have to fulfill an objective, but they also
must use two different tactics
(Dynamics, Tempo, Accompaniment, Word Choice, Styling,
Shaping) to help them
accomplish
their objective. (For example: If their objective is to scare
their partner, they
could choose to sing at a slow tempo and emphasize the
word “happy” differently each
time. If their objective is to enchant, they could place their
voice in their head and sing
legato, making the words smooth and soft.) Ask them to
play with it and explore what
they might do.
7. Possible objectives: to scare, enchant, convince, tease,
insult, mystify, delight, deceive,
or calm
8. Ask students to find a partner and identify the objective.
Then have them sing “Happy
Birthday” to each other.
9. Ask them to then switch and find a new partner. Call out
the objective and have the pairs
perform again. Repeat this two more times.
10. Bring students back and ask what they or their partner
did to achieve their objective with
“Happy Birthday.”
11. Point out to students that the elements they used are
called “tactics.” They used these
to actively work towards accomplishing their goal or
objective with their partner.
Dancing -Broadway Dance Styles
DTA Intro to Dance Lesson

Final Project-Tri ● In groups of three, students will assume the role of a

Scenes director and choose a scene or song from musical theatre
to direct. They will also be an actor in two other scenes.
They may lip sing or really sing.