The Value of a Read-Through

Once the skit has been written or selected, the next thing we do is have a read-through.  Anyone who has volunteered to help with the skit in any capacity is invited, and I may make a few special invitations to people I think may like to be involved in the skit or whom I consider to be perfect for a part in the skit. All are given the skit ahead of time, so they can become familiar with it.  At this point, few, if any, parts have been assigned, but if people tell me that they are interested in a certain part, I take note of that.  During the read-through, several things are going on:

• I am listening for those who read the parts and really “get” the characters.  I may let various people read each part.
• We read-through slowly, taking time to discuss ideas for sets, props and costumes.  When things are brought up in the group, we can discuss who has that particular skill or item.  For instance, in our last skit, we thought it would be fun to have an antique typewrite as a prop; lo and behold, someone had one and was willing to bring it.  And by the way, anyone who contributes a prop or costume is responsible to find it and bring it home after the skit is over!
• I always assign a “secretary” to take notes during the read-through.  I have found that it is too much for me to keep track of all the ideas that are brought up.  If people say that they have a certain prop or costume item, it is written down.
• We make a list of props needed for each act of a multiple-act skit.
• As the skit is read aloud, we find lines that do not work well, or are not easy to say.  Corrections and suggestions are made during the read-through which will be added to the final script.  Sometimes ladies will ad-lib some pretty funny lines which are added to the final skit script.

By the end of a read -through, I hopefully have a pretty good idea of who will be doing what, and more importantly, we all have a somewhat united vision of what the skit will look like on stage.

**Important Note:  Don’t assign a role permanently to anyone who has not registered for the retreat!

I’m a Minimalist – But Others are Not!

As I shared last week, when it comes to scenery, props and costuming for skits, I am a minimalist.  Where we are lacking, we can let the imaginations take over.

However, I find that while I am a minimalist, others are not!  It seems like every year, God puts women on the skit team who have that artistic vision that I definitely lack.  When they read the skit, they not only can envision the scenery, props and costumes, they have the gift of bringing those visions into reality.  I have found that if someone is gifted in the area of decorating a set or coming up with appropriate props and costuming, they are willing to go to the extra mile.  They are willing to put in the time and effort, and they find great fulfillment in doing these behind-the-scenes tasks.  Our last retreat skit was set on a train.  As a minimalist, I would have just set up some chairs on stage and perhaps added a sign.  Instead, our skit team came up with the amazing scenery and costumes seen above.

I am a Minimalist

Do you hesitate in doing a skit because you don’t have a budget for a “quality” production? Maybe you are lucky just to find women willing to take a role in the skit.  Or maybe you simply don’t have anyone with the gifts necessary to create the scenery, props and costumes.  No problem.  The show must go on–and you can go ahead with your skit without the scenery and elaborate props and costumes.

When it comes to scenery, props and costuming for skits, I am a minimalist.  I admit, my gifts lie in the writing and editing of the skit rather than the actual production.  But I have confidence that the script can carry the skit, with or without the extras.  God gave women wonderful imaginations that, with the help of a little narration and minimal additional visuals, enable ladies to “see” the setting, the props and the characters in their minds.

Or… maybe I’m just cheap and lazy.  For one thing, transporting elaborate sets, setting them up and then breaking them down can be a major headache, not to mention the difficulties involved in finding the materials and props if you are on a budget.  If I had my way, as director/writer, I would use signs in place of scenery (i.e. “Train Station”), hats in place of elaborate costumes, and allow the descriptive narration and the audience’s imagination do the rest.

That’s my side of the story…and I’m sticking to it!  But that’s not the end of the story.  Tune in next week to hear that while I am a minimalist in this area, others are not!