Children’s Show Proposal
By: Adam Stevens and Luca Doolittle
A Wrinkle In Time.
Script Information:
Full Script on Stage Partners.com. Specifically the Morgan Gould Full-length version.
Adapted by Morgan Gould from the novel by Madeleine L'Engle
Length: 90-100 minutes
Cast Size: 7-30+ actors possible
Genre: Drama
Sub-Genre: Adaptation, Science Fiction, Adventure, Fantasy
Character Breakdown:
Meg F Red-Eyed Man/ Ensemble 1 M/F
Charles Wallace F/M (Male Presenting.) Happy Medium/Ensemble 2 M/F
Calvin M Principle/Ensemble 13 M/F
Mrs. Who F Teacher/Ensemble 4 M/F
Mrs. Whatsit F Bully/Ensemble 5 M/F
Mrs. Which F Sandy/Ensemble 6 M/F
Father M Dennys/Ensemble 7 M/F
Mother/Aunt Beast F Postal Worker/Ensemble 8 M/F
Camazotz Mother/Ensemble M/F
Little Boy/Ensemble 10 M/F
Newspaper Boy/Ensemble 11 M/F
Meg’s Inner Voice/ Ensemble 12 M/F
-Optional additional-
Ensemble 13 M/F Note: Casting is flexible, and we can go larger or smaller
Ensemble 14 M/F depending on the turnout. Also, there are plenty of ensemble
Ensemble 15 M/F lines in the show, so ensemble members without characters
Ensemble 16 M/F will still have an opportunity to speak. The ensemble as an
Ensemble 17 M/F entity has a significant presence throughout the show and
Ensemble 18 M/F is essential to the storytelling, so everyone is just as critical
Ensemble 19 M/F as the leads.
Ensemble 20 M/F
Why A Wrinkle in Time?
A Wrinkle In Time is a show that accomplishes an astonishing amount in its 90 minutes. At the core of this play, is a beautiful story of family and becoming confident in oneself. The show also is an epic, it explores four different planets, each with its own unique charm and creativity. It is our aim as directors to find new and interesting ways to explore each of the four planets. From creative ensemble work to varied sounds and themes in the music, to unique and fantastical costume design, to shifts in set and lighting, there's always something to play with in this show. We think this would make a great production because every aspect of our theater program can be on full display in this show. As you will soon read, we have some bold yet deliberate choices directing-wise that we would like to incorporate. These choices not only will help in the quality of the production, but they will also help in showcasing NNHS theater to incoming middle schoolers.
The aspect so often overlooked in the children's show process is that of making a show that sells NNHS theater. The main purpose of the Children's Show, beyond making a production that sells tickets, is making a production that hooks incoming freshmen into joining theater. To be honest, Luca and I have both been worried because it seems that each year, we have fewer actors, techies, musicians, and costume personnel pursuing our programs. In order to fix this, we need a show that exemplifies every reason a middle schooler may want to join NNHS Theater. These reasons are as follows.
A recognizable brand. This is one draw that every one of our children shows seems to accomplish on some level. Simply put, the general public isn’t going to be as interested as they might be if they don't already have preconceived emotions tied to the material performed. Not to say this is bad per se. Fame is its hook. But what we do with it is the substance.
A mature story. While still silly enough to accommodate a family audience, this show tackles themes often untouched by less daring children's stories. Such themes include identity, individuality, love, and grief. These are important ideas presented in a manner that is easy to understand without undermining their complexity, and the script is crafted perfectly for its audience of middle school and late elementary-age kids. We find that the most valuable children’s stories treat their audience with respect. Kids are smarter than many give them credit for, and we should be enriching their understanding of art rather than limiting it with “dumbed-down” shows. This show accomplishes this in stride. Moments of this play are intense and downright creepy, but in a style similar to stories such as The Little Prince, The Giver, and Harry Potter, which demonstrate that there's always a way to balance intensity with lightheartedness. And, in the end, good triumphs over evil.
A unique approach. This is not a conventional show. By breaking some of the “norms” that come with theater, we’re showing our young audience that theater doesn't have to be 5 leads and an ensemble talking back and forth for 2 hours. Theater is an art form that encourages unconventional thinking and bold new choices. This show is a contemporary take on an old classic in a playful, imaginative style that enhances the themes of the show. This play can open the minds of our young audience to all the possibilities of what theater can be with a little creativity.
A fun ensemble. A major reason former actors don't continue in the craft is that they got put in a tiny role and lost the motivation to continue. It's admittedly an understandable reason to be upset, but it's one that this script manages to stray away from. The ensemble is half the fun of this show. It's constantly moving and is the lifeblood of the show itself. Similar in vain to Curious Incident of the Dog in the Nighttime, The ensemble is required to work flexibly and in just about any moment of the story necessary. This is both important for the middle schoolers and for actors working in the show. For the ensemble, it isn't a chore to be a part of it, because they are involved as any other actor in the show. For middle schoolers, it shows that the ensemble isn't just some prison relegated to the “less talented,” and is instead a vital element of the craft.
Immersive tech. Tech is going to have plenty to chew on in this production. The sets require a minimalistic approach, yet incredible attention to detail. We specifically chose a show that does a lot with a little. This show won't exhaust tech or our budget (that's the job of the musical), but it will require tech to think creatively and work in a type of show they rarely have the chance to do. Additionally, a general audience is going to want to see something visually spectacular. Shows with impressive visual elements almost always sell better than those that don't, so including strong visuals will increase the show’s appeal.
Music. This detail is discussed more later. But in short, people like music. One of those weird pet peeves I (Adam) have is how silent some of our shows can be. It's understandable, music is tricky and can be easily misused. But similar to immersive tech, just a little music can greatly improve the enjoyment one has when watching a show. In the context of middle schoolers, we want to give them a full fine arts experience. Music is just one of those many factors that need to be on display to showcase exactly what NNHS is all about.
Costumes. Creating costumes to represent different worlds altogether is a difficult feat, but its one that, when done right, can completely immerse the audience into these new realms. Additionally, this show has many ensemble quick changes, so both the costume crew and the actors will get to work in a fresh, fast-paced style they may be unfamiliar with, providing valuable experience.
Theater magic. This will be discussed further in the directorial choices section of our pitch, but by having many elements of the production be shown onstage, such as the orchestra, costume changes, and crafty, non-literal props, the show exposes all of its inner workings for the audience to see. As opposed to most other shows which hide their inner cogs backstage, this show prides itself in highlighting the machine of theater. We get to see that collaboration onstage as everything happens around it, which shows our middle schoolers exactly what can happen in a high school theater. Students interested in theater get to see what awaits them in real-time.
Adams Bio:
First and foremost, it is my job as a director to create an inclusive environment where actors can develop their craft in an immersive theater experience. While my personal exact vision for the show has its place, it is how each performer, techie, and musician takes my directions and makes it their own. In the hustle of the moment, it's easy to forget the whole reason we do what we do. Because it's fun. We do it all because of that exhilarating feeling when you and your friends perform in front of a stage of proud parents, impressed friends, and engrossed thespians. The memories we make in the NPAC are ones we will hold with us for the rest of our lives. It's my job to make sure that each member of my production gets those memories while having a blast along the way. Over my three years, I’ve always been an inclusive and friendly member of theater. I always include others in conversations, and regularly am there for people when they’re having a hard time. My creative brain is just as strong as my social brain, and I know how to help others when in the often emotionally charged world of theater.
On the topic of social understanding, I am a natural leader. I understand what people need and how I can help them achieve their goals. I understand how to get people to work, but also how to let them enjoy themselves and not be stressed out or feel like they’re being talked down to. The most common pitfall I see student leaders fall into is that they project their stress onto others, often by getting needlessly snappy and talking down to their fellow classmates. This ends in a cast that resents the project they’re working on, and thus aren't willing to grow or even have fun. This common mistake is one Luca and I recognize and won't fall into. Perhaps the best piece of evidence for my claims is in my one-act directing experience. For both of my productions, I worked collaboratively not as an authoritarian, but as a mentor genuinely wanting my cast to grow. This led to both of my shows being successful in both final product and rehearsal engagement. I can still remember 10 different people begging me to put them in my Junior year one-act. That was no accident, these actors (most being returning members from my sophomore year show) trusted me to make an experience for them that was fun, well thought out, and engaging.
As a 3rd year member of NNHS Theater, I have always shown my commitment and passion to everything I do. I've given each project I'm a part of my all. I am one of the hardest-working people I know and never quit when the going gets tough. You've seen me in enough tech weeks and long rehearsals to understand that I'm resilient and keep a level head throughout.
I excel at not just performing but understanding. With each production, I ask the crucial question of “why?” Why is this line funny? Why is this moment serious? Why does this moment not work as well? My naturally curious brain has helped me analyze what makes good theater tick. I've applied these skills to my performances and directorial work.
What also distinguishes me as a qualified candidate is my varied experiences in the craft. In addition to my time as an actor, I've also studied film acting at Northwestern University. This unique experience gave me masterclasses in the craft with industry professionals. An especially important class I took was “Directing Actors” taught by the genius Coburn Goss. In Directing Actors, I was taught how to direct an actor not simply by saying “This needs more emotion” or “Could you make it sad?” In favor of more nuanced methods of working with an actor, that support the actors' personal discovery. I also work as a freelance director and cinematographer for the company Kahna Fresh. I have made four commercials for the company. This has given me an opportunity to practice my directing skills in a professional setting, working with adults. The skills of cinema and stage directing are quite similar and translate well. As mentioned before, I have directed two one-acts which no one in our department going into next year can say they have done. I am currently getting a “Directors Club” off the ground with Mr. Martin for next year. The club will help aspiring directors to learn more about the craft. I also have had producing experience from Back to the 80s, which has given me insight into the world of specifically NNHS theater direction and planning. Shifting gears, I have been playing in school orchestras for the past 8 years. I know plenty of useful information that will make communication with the pit a breeze. I've also done plenty of vocal training which has taught me more about what I want to hear in my music rather than what's given to me. This will aid in my direction of how I want each piece of music to feel.
Finally, as embarrassing as it admittedly is, I have spent literally hundreds of hours over the past year obsessing over this project. I began work in August, and my thirst for it has never quenched. When I am given a project I care deeply about, I give it my all. I intend to spend a hundred hours more on this project in the future. Because all this work feels like nothing to me. I love what I do here and I wouldn't trade it for anything, and I just want to give a show back to NNHS Theater, in the same way it has given so many amazing productions to me.
Experience in North Theater
2022/2023/2024 Member of Theater Club
2022/2023/2024 Member of Playwright’s Club
2022/2023/2024 Member of Improv Club
2023/2024 Event planner on Theater Board
2021 The Election (Fresh/Soph) Gary
2022 Curious Incident (Spring Project) Ensemble/Christopher US
2022 (One Acts) Dark lord Mastema/Guard 4
2022 Footloose (Musical) Principal Clark
2022 Bethel Park Falls (Fresh/Soph) Mayor Clay
2022 Alice in Wonderland (Children's play) White Rabbit
2023 Naperville (Spring Project) Howard
2023 Showbiz (One-Acts) Director/Writer
2023 Mean Girls (Musical) Kevin G
2023 Deadline (Murder Mystery) Carswell Chalmers
2023 Back to the 80s (Fresh/Soph) Producer
2023 30/60 (Fall Play) Neo-futurist
2023 Charlotte's Web (Children's show) John Arable
2024 Almost Maine (Spring Project) Phil
2024 The Block Party (One-Act) Director/Producer
2024 Matilda (Musical) Doctor/Rudolpho
Other Experience
2023-2024 Freelance assistant Directing and cinematography for Kahna Fresh.
2021-2022-2023-2024 Orchestra Council Member
2023 Northwestern Acting on Camera Intensive.
2021-2022-2023-2024 Orchestra Double Bassist.
2024 Founder of directors club.
2022-2023 Show Choir.
2021 Cross Country.
2022 Track and Field.
Luca’s Bio:
It’s no secret that I find live theater to be one of the most moving artistic mediums in existence. Nothing compares to seeing a story unfold right in front of you. It’s an absolute dream to be able to build a theatrical experience from the ground up, and doing so involves laying a firm foundation of research, worldbuilding, creative vision, and drive in order to create the best show possible. I possess leadership skills, creativity, flexibility, a curious nature, and a great amount of experience in both North Theatre and projects outside of school.
I have thorough experience guiding actors to choices that beget incredible performances, as I’ve spent a semester as a Teaching Assistant for Acting and Advanced Acting here at North. This experience taught me how to look critically at a performance, how to isolate elements of a performance that work and elements that need to be adjusted, and how to give effective feedback with a focus on uplifting the agency of the actor and encouraging creativity within a role. My role has been to work together with actors to achieve the best product possible, not to prescribe a way of performing that I think is best. With that said, I am able to recognize when an actor’s choice isn’t working, and I am not afraid to point out areas that need to be improved, I have the communication skills needed to critique performance in a professional fashion that prioritizes improvement without criticizing the actors themselves.
My high school career has been full of difficulty, which has given me experience in problem-solving, adaptability, and a new understanding of how I best function as a student, a creative, and a person. I have ADHD and am clinically recognized as autistic, and both of these conditions have made me learn to adapt to my situation and learn how to make difficult situations work for me. An example of this was when I was taking Advanced Acting. I was behind on some written assignments because I was not able to express my thoughts on my performances in a written format, so I worked with Ms. Kennedy to demonstrate that thinking in a verbal interview format. I was comfortable breaking convention in order to find an approach that works best with my needs, and I am willing to question processes in place and create creative solutions when I come across roadblocks, which are an inevitability in this process. I also take care to not marry myself to any ideas, so I’m comfortable dropping things that aren’t working. For instance, I recognized that as much as I loved performing with Entourage, the stress, physical demands, and time commitments were not good for me. It hurt to let go of something I loved, but I understood that it was best for me in the long run. As a director, I understand that there may be some ideas that I love that are too complicated or expensive, or simply not possible for the show, and I am prepared to let those ideas go if need be or adapt them to suit our constraints. Flexibility and both the willingness and ability to adapt is essential for a large-scale project.
I have a great amount of interest in dramaturgy, worldbuilding, historical accuracy, and visual communication. Attention to detail creates a whole that is more cohesive and a much more compelling whole. Immersive storytelling is such a magical experience, and I have a great passion for creating characters, worlds, and stories that all enhance each other through their visuals and themes. I also draw as a hobby, so if I need to create visual aides for the tech and costume crew, in order to express Adam and my visions, I can easily do so. Color, shape, and silhouette are languages that I have gained some fluency in through my time taking Graphic Design at North, and these elements can enhance the emotions of a scene, the personality of a character, and the themes of the story when properly employed.
Directing is not going to be easy, and I’m ready to put in the work necessary to make this happen. The breadth of my knowledge and depth of my passions, as well as my flexibility and creative problem-solving skills, are all assets that I will use to make A Wrinkle in Time and the process of its creation as fantastic as possible.
Experience in North Theater
2021/22/23/24 Member of Theatre Club
2022/23/24 Member of Improv club
2021/22/23/24 Member of Costume Crew
2022/23 Costume Crew Head and Wig Master
2023/24 Costume Liaison
2021 Strangers On a Train (Radio Play) Miriam
2021 The Election (Fresh/Soph) Ensemble
2022 Terrible Testimony (One Acts) Bug Boy
2022 Footloose (Musical) Boy 3/Ensemble
2022 Bethel Park Falls (Fresh/Soph) Dusty/Cliff
2022 Cosmonautica (Radio Play) Leonid Sokolov
2022 She Kills Monsters (Fall Play) Chuck us./Ensemble
2022 Alice in Wonderland (Children’s Show) Cheshire Cat
2023 Naperville (Spring Project) Candice
2023 Really Good Friends (One-Acts) The Muses
2023 Intrusive Thoughts (One-Acts) Ensemble
2023 Mean Girls (Musical) Jason W.
2023 Deadline (Murder Mystery) Norris
2023 30/60 (Fall Play) Neo-futurist
2023 Charlotte's Web (Children's show) Ensemble
2024 Almost Maine (Spring Project) Danny
Other Experience
2024 Cabaret (Theatre-On-The-Hill) Emcee
2024 Murder on the Orient Express (Theatre-On-The-Hill) Hector MacQueen
2024 Acting/Advanced Acting Teaching Assistant
2024 Illinois High School Theatre Fest All-Fest Improv Troupe
2021/22/23 Show Choir
2022 Entourage Vocal Captain
2022 Entourage “Most Improved” Award
2019 Junior BAM Conservatory Ensemble
2023 Multi-Cultural Show Performance
2023/24 Orchestra Double Bassist
Why We Are A Perfect Match For this Show.
As mentioned previously, A Wrinkle In Time is not a standard theater experience. It takes minds who can think creatively, yet still pragmatically to make this show a spectacle. We have both of these facets tied down. Adam is incredibly creative has a clear vision, and is also able to think realistically about what materials we have to work with and how we can achieve what we need with constraints. Luca, additionally, is one of the most well-read theater people in our department. He has plenty of high-concept ideas that can bring our production to a whole new level of expertise. Together, we can balance creativity and practicality. Luca greatly values the integrity of a work’s worldbuilding. He believes that it is impossible for an audience to connect deeply with a play without the actors and creative team delving into the work to understand it in its entirety, so Luca plans to establish a commitment to internal consistency and logic. As a two-time director of one-acts, Adam has worked in a directing duo multiple times. Those shows gave him the opportunity to practice his skills in working collaboratively rather than separately with another director. In both scenarios, he was able to showcase his strengths while letting his partner get their time and help compensate for his weaknesses. We have a common goal and understand each other very well, and our different perspectives give us the opportunity to use the best of each other's skills, incorporating them into a fully realized show. What we love about this show is how it allows for creative liberties. It gives the directing duo the opportunity to make strong creative choices with each scene, and it's a show that can't be done unless the directors have immense creativity, work ethic, and the willingness to get out of their comfort zones. From our decision to add in a pit, to our strong work ethic (evidenced by how long we've been working on this project and our personal projects), to our tested creative minds, we represent each of these principles in stride.
Character Bios/Casting notes/Costumes:
Note: This story is set in the early 1960s. Characters from Earth and the ensemble are dressed to match the time period.
Meg: The Lead of our show. She is a socially awkward middle schooler. She isn't neat or fair, but it's her rough edges that ultimately save her and her family. She can even, at times, come off as a bit annoying, but she cares deeply for the people in her life.
Casting: We are looking for a strong female actor who at first glance, may not seem like a conventional “lead.” This character is awkward and doesn't always say what you want her to say. But we also need someone who can portray grief, anger, and peril in many of Meg’s emotionally powerful scenes. This actor needs to understand subtly, but also when to stand their ground and be powerful. This character also speaks a great deal so a trusted actress who can handle a hefty workload would be ideal.
Costume: She wears a dorky outfit. Jeans, an overcoat, pigtails, and big round glasses.
Charles Wallace: The brilliant younger brother of Meg. He's a confident, and self-sufficient little boy, who’s heavily implied to be on the spectrum. If possible, we would prefer to cast a neurodivergent actor as Charles Wallace.
Casting: The trickiest part of casting is in this character's neurodivergency. This will definitely be one of those roles we will have to figure out first in the callback process. His neurodivergence needs to be shown but not overstated. He is as complex of a person as anyone else in the story, and it's his differences that make him special. He may have his funny moments, but we're laughing with him, not at him. We, two neurodivergent people, have research and personal experience in handling life in a world that isn’t made for us. We'd be happy to meet with a professional or discuss his representation further with the theatre sponsors. He is also another character with a lot of lines so we'd need a trusted actor.
Costumes: Charles Wallace wears khakis and a tucked-in button-down shirt, preferably in bright colors. He wears a bowtie and has super-slicked hair. It is something that should be uniquely “Charles Wallace.”
Calvin: The “boy next door.” As Meg and Charles get to know him, he reveals himself as a kind and respectful young man. While he fits the standard convention of “jock” at first, he’s more layered and has his own personality beyond what they initially see him as.
Casting: We need someone who instantly can be charismatic and likable the moment they step into the role. Someone who doesn't overstate themselves, but leaves just enough of an impact that draws the audience in. The final actor with a lot of lines so a trusted actor is necessary.
Costumes: Something more “cool guy”-esque. A polo and nice pants.
Mrs. Whatsit: Quirky and silly, yet at times can be commanding, as well as nurturing. She is our introduction to the world of A Wrinkle In Time. She should feel not of this world, yet still has that necessary shred of humanity.
Casting: We need a strong comedic actress who can toe the line between whimsy and surrealism. Her presence must also be calming at times, and sweet.
Costumes: She wears a giant dress of sparkly colors, with big boots, and poofy hair. Her primary color should be blue.
(She looks closest to the one on the left but without the headpiece.)
Mrs. Who: Similar to a silly old librarian. Her presence is comforting. She often speaks in literary quotes instead of conventional dialogue.
Casting: She needs to feel like a kindly old grandma. She should look the oldest of the three. Sweet as pie, yet wise and well-read. Since she often speaks in only literary quotes, we need an actress who has a good memory due to the trickiness of much of the dialogue and the potential for audience members to recognize the quotes (and notice misquotes). We would also need an actress with a good presentational voice who can deliver each quote with dignity. Finally, an actress who can convey character nonverbally and portray the character’s emotions and intentions through the quotes.
Costume: She wears plenty of layers, especially scarves and cardigans, with mismatched colors. She also has big round glasses. Her primary color is purple.
Mrs. Which: She has a hard time speaking English. She either speaks in quotes from literature or speaks in a slow annunciation, similar to that of a snake.
Casting: We need a strong actress who can make strong vocal performance choices. She should look like the youngest of the three witches. Her slurred speech needs to sound calming, almost melodic, and not annoy the audience. She needs to be incredibly kind and sweet to the kids.
Costumes: She wears a sparkly dress as if she were a ball of light. Her primary color is a sparkly pink.
Note: The three witches should all be kind, but kind in different ways. Mrs. Whatsit should be kind in her quirkiness. She's like a labrador retriever, always looking for fun and whimsy. Mrs. Who is kind in her love for the kids. She has a dorkiness to her similar to a sweet librarian. Mrs. Which is kind in her gentleness. She speaks quietly and has a deep connection to everyone she meets.
Mother/Aunt Beast: Mother is kind and gracious to those around her. While she is still grieving and trying to keep things together, she always puts on a strong face for her children. Aunt Beast is an unknown entity who takes care of Meg and her family in a time of need. She has a similar kindness to her.
Casting: We need an actress who has a strong understanding of subtlety. The grief she feels should be clear but not overstated. The way this character masks her pain for the love of her kids is what makes her endearing. Aunt Beast is, in essence, the same character. She’s there for Meg in her time of need, similar to that of a mother comforting her child. The actress should bring that same energy to each role.
Costumes: Mom should wear a work dress with a lab coat over it, and look a bit disheveled. Aunt Harriet should wear an old all-black late 19th-century dress with a large hat that obscures her eyes from the audience, possibly with a veil.
Note: Aunt Beast sings Meg a short lullaby. We understand that this cannot be a musical, so we want this moment to not be overplayed. The script says that if we wanted to, we could make it a full cast number, we don't find this necessary. We want this to be a simple lullaby sung by a motherly figure. We don't need a perfect voice, but it would help if Aunt Harriet's actress had some singing experience. We envision it as being performed as a capella, instead of with the orchestra.
Father: Father is trapped in time, and it's up to Meg to go save him. Father cares deeply for his family, and he has learned the secrets of the universe. He’s a soft-spoken older man.
Casting: We need an actor who can portray a strong emotional connection with Meg, Charles, and Mom. He is sought by all of our leads, so he needs to be immediately loveable to the audience in order for his presence to be rewarding. He is soft-spoken, kind, and endearing.
Costumes: He wears a scientist's outfit. He looks old and would have gray highlights in his hair to show how long he's been imprisoned in spacetime.
Red-Eyed Man: A dark and malevolent force, whose Medusa-like red eyes can brainwash anyone.
Casting: We need an actor who, in his short scene, can effectively terrify the audience. Someone who can be cunning and malicious, with an imposing presence. Also, ideally, the actor is comfortable wearing contacts.
Costumes: He wears a dark suit, red tie, sunglasses, and red contacts. (Luca is familiar with colored contacts and can help customers with getting them sorted out.)
Happy Medium: Teller of the universe. A quirky yet wise creature who spends its day looking over the balance of the universe.
Casting: A comedic actor of any gender with a lot of energy. Someone who can play up the mystic yet scatter-brained nature of the character.
Costumes: Mystical, with colorful patterned fabrics. Flowing, loose-fitting clothes, and plenty of jewelry.
Ensemble: The ensemble is supposed to act as the universe itself in this story. They travel around the stage, completing many different jobs similar to that of the ensemble in Curious Incident of the Dog in the Nighttime.
Casting: We need actors and actresses who are flexible and willing to try new things onstage. The ensemble needs to be able to work together as a cohesive unit. The actors should be comfortable with exaggerated, creative, and expressive movement and with each other, which we will work on throughout the rehearsal process.
Costumes: For general wear, we want base layers of dark blues and black with some comic-themed prints. The ensemble should not be wearing all matching outfits, but have a cohesive color scheme and style. Simple character swaps will be single pieces of clothing such as an overcoat or hat, similar in approach to Curious Incident of the Dog in the Nighttime costumes. Red Universe Costumes will be a bit more complicated. We want to go for a creepy, exaggerated 60s look. Very Smallville-esque. The colors of these costumes should be warm. Yellows, browns, whites, and, of course, reds.
Tech:
Set:
While we want some nice statement set pieces similar to that of the barn in Charlotte's Web, we also want a balance between grandiose and flexible. The set should be able to transform into different scenes and worlds. As a baseline, we want 4 “Planets.” Each one represents a different world the children visit, Earth, the good planet, the red planet, and the dark planet. These will help signify which planet we are on at any given moment. The planets will be circles of painted wood held up by the fly rail similar to the treetops in Bethel Park Falls. Earth and the red planet will be the bigger of the 4, 3 feet in radius. The good planet and the dark planet are only 2 feet in radius. The planets are our spectacle piece. They will also be what tech gets to spend a great deal of their prep time on. We want it to look as if you're looking up to the cosmos.
Additional set pieces will be necessary but light. We’re going for quick transitions that can be done by the cast. Our most fancy set-piece beyond the planets is the tesseract. For the best effect, we would need some transparent blue fabric that we could drape over a box frame, it would also need to be on a rolling platform. The tesseract would be similar to the gelatinous cube from She Kills Monsters.
We will also need some tables, chairs, and a door frame. We would also need the cubes we used in Bristol for multiple different purposes. While the set may seem lavish, we are employing a lot of simple tricks and the set itself really isn't too complicated. If we have the budget, it would be nice to have four mobile flats, similar to the flats in Back To The 80s. On these flats, we can decorate one side as the red world, and the other as the good world. But, this is only if we have an extra budget beyond what is already mentioned, and the show can function without these flats.
Finally, if possible, the stage would be painted in cosmic colors. White specs to represent stars, deep blues and purples, and whatever else our charge artists feel inclined to make. The painted stage would be similar to that of the painted wood tile in Naperville.
Lights:
More elements of spectacle will be added to these worlds through the use of clever lighting. It will be a real test of flexibility for our lighting designer. We want four distinct and similarly magical looks for each of the four planets. For Earth, a rainy look is shown in the story to be raining constantly, we want this dreary feeling shown through muted blues and grays. The good planet should be luscious greens, bright yellows, pinks, and other warm colors. Also, we can employ some unconventional colors and looks with our lights when on planets other than Earth. There is a particularly important light moment when the kids go flying on Mrs. Which’s back and then see IT. These would be beautiful sunset colors that transition into harsh dark reds. The red planet would be harsh reds, dirty browns, and long shadows. The Dark Planet would be entirely lit by spotlights. Finally ending back on Earth, we want a starry night sky, something that reminds us of home but is still a little fantastical.
(The good planet inspiration.) (The red planet inspiration.)
(Rainy Day Earth inspiration.) (Dark planet inspiration.)
(Flying scene inspiration.)
(Final scene on Earth.)
Props:
This is a show that requires a great number of props. While it's nothing to worry about, it's also something we can't write off when planning this out. Prop-wise we would need some special items to make Mrs. Which’s flying scene. Bounce balls for everyone in the cast, flashlights, scientist equipment, Aunt Beast first form, and so on. Going more in-depth, Mrs. Which’s flying would be shown by the actors standing on the cube. Mrs. Which's face would be painted on an umbrella, and its wings, long pieces of fabric held up by the ensemble.
Aunt Beast starts off as a piece of shiny cloth and behind it are actors who use sticks to puppet it as if it were some kind of alien jellyfish. Attached behind the cloth are LEDs which add to the creature's strange and magical presence. Only later does Aunt Beast reveal herself in her humanoid form as seen earlier.
Sound effects:
There's a multitude of different moments in the story that require sound effects. While some of these unique sounds will come from the orchestra, others require a booth touch. Given the surrealism of the piece, our sound engineers will have a unique challenge in creating something not of this world. Important moments of sound include thunder, wind, rumbling, chanting, eerie noises, and moments of tranquility.
Staging:
We want the ensemble and the pit to be onstage. In order to accomplish this, we would have the orchestra take downstage center, similar to the radio play, but a little further back in order to have a larger playing space. The actors would have benches they could sit on on either side of the orchestra. The NPAC stage is very deep, so we aren’t particularly concerned about running out of space, but we will keep the limited space in mind throughout the blocking process.
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Ensemble/IT
The script is, in a sense, made for a large ensemble. The ensemble isn't relegated to simple background characters or one-liners. The ensemble in this show is meant to embody the universe itself. This can lead to moments of creativity, comedy, drama, and spectacle. For example, there are a couple of moments where an ensemble member voices Meg’s thoughts, these moments are a creative look into Meg’s mind, an emotional way to represent Meg’s anxieties, a sometimes comedic way to embody her scatter-brained personality, and an easy to understand way to process her characters subtleties. Another example that showcases the full ensemble is the principal scene. In which, Meg is being chewed out by the principal for her misbehavior. In the scene, Meg is trying to escape but the ensemble surrounds her and keeps pushing her down into her seat. At this moment, the ensemble is representing how the situation she is in is inescapable. They also represent how Meg's overwhelming issues are crushing her. Of course, there are also moments of plain ensemble use as well. There's a handful of named characters such as the principal, Sandy and Dennys, the bully, and so on. So there will also be moments where actors can play in an environment they may feel more at home with.
The script encourages flexibility in how we use the ensemble. There are moments written in the script that we have decided don't fit the ensemble, such as the ensemble making the sound effects, imitating the tesseract, and acting as furniture. However, there are some moments we have added that weren’t told in the original script. One example is when Meg and Calvin are doing their math homework. For context, Meg is finishing her homework much faster than Calvin, then the scene ends with the two having a heartfelt moment, and is the first instance of a budding romance between the two. Our idea was to have two ensemble members carry on medium-sized whiteboards, similar to the ones in front of the peer tutoring room. We’d have equations on each board and the ensemble members would represent the two doing their homework. Halfway through the scene, the ensemble members would flip their whiteboards and draw half a heart. Then at the end, the ensemble members would push the whiteboards together to make a full heart. The beautiful thing about this play is that it encourages this type of flexibility in ensemble usage.
Where the ensemble is most important is in the red world. The red world is home to IT, an omnipotent force of evil that takes a human form to defeat Meg. It is most often shown by the ensemble moving in unison with one another, it's supposed to be as if something is imitating how a human might behave. This all culminates in the IT cluster. The IT cluster is when all the ensemble members come together and become an amalgamation of pain. Our plan is to have all ensemble members interlock hands, then move rhythmically together, keep raising themselves up then stumble to their feet. This moment is similar to the Chokey Chant in Matilda when the big kids clump together to scare the young kids. This moment is complicated, but it's one that We are prepared to face head-on. We’re already planning on spending time with our ensemble to explore the stage and see how we can make something that's effective and comfortable with the actors. We have plenty more ideas on how we can make IT come to life and are open to input from the actors on IT’s portrayal.
MUSIC:
We decided on adding a pitt for a number of reasons. Our first reason was that after the cancellation of the Radio Play, there were plenty of upset musicians who now had one less thing to do in North Theater. Many were promised leadership opportunities that had been crushed due to its cancellation. By adding an orchestra to Children's play, we hope to give musicians back that opportunity. Our second reason is that music is a powerful storytelling tool that can help the audience understand an emotion far quicker than straight storytelling. What makes A Wrinkle In Time tricky, is that its source material thrives in its quirkiness. Its oddball story-telling and surreal tone make it a hard piece to adapt to the stage. By adding music, we can explore each emotion present in the story, in a more visceral, and engaging way. Think about your favorite songs, don't they give you emotions that you otherwise couldn't explain? We hope to accomplish a similar feeling in our usage of the pit. While we don't have an extensive list of every piece of music we’d need yet, here are some examples of moments we would like to add music to.
Overture
Father’s theme. (Heartfelt.)
Mrs. Which’s introduction. (Quirky.)
The Tesseract theme. (Mysterious.)
The Tesseract theme reprise. (Epic.)
Flying scene. (Beautiful.)
Its theme. (Scary.)
IT reprise. (Rising intensity.)
The dark world theme. (Surreal/peaceful.)
Family theme. (Triumph.)
Hopefully, this gives you an introduction to how we hope to incorporate music. Now we're going to hand it over to our two co-composers.
Anwita Kumar Bio:
I have been composing music for 5 years, and it is a passion that I have wholeheartedly pursued. Having this opportunity to co-compose with Owen Woker is an excellent opportunity for both of us to deepen our understanding of music and composition and to be able to express ourselves through music! I have composed music for my Advanced orchestra class, an advanced orchestra group called Bella Corda, and when I shadowed Sofia during Radio Play. Composing for Bella Corda and my orchestra class helps me understand the complexities of music and has been a great way to enhance my composition abilities. During Radio Play, Sofia was, and still is to this day, my mentor and helped me learn how to develop ideas in my head onto a manuscript and then get it to be played by other musicians. Composing music is a medium that I use to express my deepest love for this art form.
Some of my favorite compositions I have written are Radium Clocks, Spider Waltz, Asbestos, Holiday Mash, and Bubble Dance. I wrote Radium Clocks and Asbestos for Radio Play, adding music and other themes that inspired me to help compose mine. For Radium Clocks, I based my main melody on Brahms' lullaby. The original theme is in the key of Eb major, and I changed mine to a minor key to give it a creepy feel. I did this because I interpreted the Radium Clocks ad as mysterious and wanted background music to signify that. I did a similar thing for a piece I composed for Bella Corda called Holiday Mash, where I arranged Christmas music into one piece but changed the key signature to make it sound scarier.
My plan for co-composing music for A Wrinkle in Time is to plan which scenes need music, what's going on, and how long the music needs to be. This is a crucial step in composing because you need to know how long a piece needs to be, what the mood of the piece is, and what instruments we need. We plan to arrange the music as soon as possible to create parts and have rehearsals so that the orchestra can perform at the utmost quality. Co-composing will be the most efficient way to get everything done promptly, for we both have great skills and ideas to convey a story with music.
I am honored to have the opportunity to co-compose music for A Wrinkle in Time. Music is a passion of mine that I will never give up, and being able to get my ideas performed by an orchestra is an outstanding achievement any composer can ask for. I have always believed that music brings us all together, and it's something that helps bring out our emotions and can help everyone be connected with themselves and the narrative going on in the music. Combining the realm of theater and music helps build a stronger narrative and helps the audience be more connected with the story, and I am always willing to help produce music to help build the connections to the story.
OWEN WILKER:
"Hello! My name is Owen Woker; I’m a current junior at Naperville North. I’m a violinist in the NNHS advanced orchestra and Bella Corda, our after-school orchestra group, as well as the Chicago Consort violin group. Additionally, I recently performed in the orchestra for a professional production of The Music Man at the Metropolis Performing Arts Center in Arlington Heights. I have been writing and arranging music for several years, and a few of my pieces have been performed by Bella Corda. I have conducting experience as well: I serve as the assistant conductor for the youth orchestra at the Naperville Suzuki School. I also play viola, piano, bass guitar, and alto saxophone.
When I begin to arrange, compose, or play a piece, I like to imagine where it takes me. Oftentimes I write little stories in my head to visualize what's happening in the music, with themes representing characters and moods. It would be an honor to put both my passion for music and stories together to write music for the theater. Emotion is important when writing music. I was recently hired by a senior to play violin during his proposal. He asked for a piece from the soundtrack of La La Land, originally for solo piano with an orchestra. Unfortunately, I'm only one person, so I had to figure out how to keep all the drama that comes with that instrumentation while boiling it down for solo violin and making it practical enough to learn in three days. I decided to embody the romantic character of the piece by adding parts where I would play two lines at once using double stops, so I sounded like I was playing a duet. It captured the romance of the story, reminding me of two lovers talking to each other. At another point, there was a long, virtuosic solo section that I for sure did not have enough time to arrange and learn. So I got it down to a four-bar cadenza that was really just simple arpeggios and scales but played quickly and with feeling. It wasn't actually very difficult, but it looked impressive, so it maintained the proper character. This ability of being able to think about character and practicality comes in especially handy when composing for groups where members are of different skill levels and a certain character must be achieved for the piece without being too complex! I plan to work closely with the other members of the team for A Wrinkle in Time, especially with my co-composer, Anwita. We get along great and will have no trouble dividing up the work of composition. I am a very efficient composer and will make it a point to have parts written, edited, and printed by the time they are needed. Furthermore, I have many close friends across the band and orchestra who are fantastic musicians and I can successfully pressure, I mean, recruit them into the pit so we have a well-rounded ensemble. Music is my favorite thing! It brings me the greatest joy in the world to play it, write it, and share it. It would be my honor to bring others that same joy in the theater and the audience by writing music for A Wrinkle in Time. I am 100% up to the task."
Note: Our schedule will almost definitely fluctuate based on cast absences, fall play commitments, and any other unforeseen events. This list however acts as a great blueprint for our production moving forward.
October
Sunday
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
1
2
3
4
5
6
7
8
9
10
Auditions
11
Auditions
12
Callbacks
13
14
Cast list release date
15
16
17
3:30-5:30
All cast read through
18
19
Scene 6-7
3:30-5:30
All cast
20
3-4:30
Scene 1
Meg, Charles Wallace, Mother, Mrs. Which
21
Scene 8
3:30-5
Meg,
Charles,
Calvin,
Happy Medium,
Mrs. Who,
Mrs. Which,
Mrs. Whatsit
Select ensemble.
22
23
24
Scene 2:
3:30-4:15
Meg, Mother, Principle,
25
26
Scene 9-11
(As far as we can get.)
All cast rehearsal
3:30-5
27
Scene4/
Scene5
3:30-4:45
Meg,
Charles,
Calvin,
Mrs. Who
28
Scene 9-11
All cast rehearsal
3:30-5
29
30
31
Halloween.
November
Sunday
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
1 Scene 5
3:30-5
Meg,
Mother,
Calvin,
Charles Wallace
(Select ensemble members.)
2 Scene 12
3:30-5:30
All cast
3 Scene 13
3:30-5:30
Meg,
Calvin,
Father,
Aunt Beast,
Mrs. Who,
Mrs. Which,
Mrs. Whatsit
Select ensemble
4 Scene 15
3:30-5:30
All cast (No Whiches or Aunt Beast
5
6
7 Scene 14
Meg,
Calvin,
Father,
Aunt Beast,
Mrs. Who,
Mrs. Which,
Mrs. Whatsit
8
9
All cast rehearsal
3:30-5:30
Offbook day.
10 Individual Character discussion.
3:30-4:30
Meg,
Charles,
Calvin,
Mrs. Which,
Mrs. Whatsit,
Mrs. Who,
Father,
Mother
11
All cast rehearsal
3:30-5:30
12
13
14
All-cast
3:30-5:30
15
All-cast
3:30-5:30
16
All-cast
3:30-5:30
17
All-cast
3:30-5:30
18
All-cast
3:30-5:30
19
20
21
All-cast
3:30-5:30
22
All-cast
3:30-5:30
23
Thanksgiving break
24
Thanksgiving break
25
Thanksgiving break
26
27
28
Tech
29
Tech
30
Tech
December
Sunday
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
1
Tech
2
Opening night
3
Saturday shows
4
Final show
strike
5
6
7
8
9
10
Fundraising and Advertising Opportunities:
Middle school reading: Charlotte's Web had the elementary schoolers read the book before they saw the show. We hope to do the same thing. Middle schools tend to have flexible schedules that can allow an additional book into the curriculum. We can also try to make it a challenge. Middle schools are always having competitions to see who can read the most books in a given time period, so we could make it a prize, where the English class that reads the most books in a given week can get free tickets to the show.
If the schools are not able to fit the book into their class schedule,
Flier Flood: A classic event for any show. Flier Flood can help our cast bond in an outside-of-school environment and promote the show in the community.
Portillo's Fundraiser: Another classic and time-tested method for gaining money. We can also schedule it on the same day as the flier flood, this way, once everyone is done delivering fliers, we can all meet up at Portillo's afterward.
Parade: We can get our production into the fall parade. Weather permitting, we could have our cast in costume. We can also hand out fun space-themed candy such as Mars bars and Milky Ways.
Middle-School Visit: Directors, along with the actors for Meg, Charles, and Calvin, can make a visit to the middle schools. We would have to make this a different approach than when we visit the elementary schools. We can have a more sophisticated conversation with the kids about what it means to be a part of NNHS Theater and discuss A Wrinkle In Time with them.
Library Character Visit: Similar to the Middle-school visit, but with an aim towards a younger audience. We could have it be “Meet the Witches from A Wrinkle In Time!” Where those three actresses can do meet and greets with the children.
Social Media: Our most powerful tool in promoting our project, we would want a new TikTok/Instagram post every day of tech leading up to the show. Ideally, there would also be a handful of posts throughout the rehearsal process, to get eyes on the show before it’s too late. We would want to make sure the posts focus on the unique draws of our show, especially the orchestra. We can also do TikToks about the three witches, the ensemble, the tech elements, and, with the help of the Theatre Board social media team, follow fun trends with the cast with the potential for them to go viral, creating a lot of publicity.
Merchandise: Following traditions for shows at North, there would be a crew neck for the show available to the cast, crew, and orchestra, and a few dozen more in a variety of sizes can be ordered to be sold at concessions during the show. T-shirts with the same design can also be purchased to be sold at concessions.
Student Discount: To encourage high school students to come to the show, we should have a slight discount for them. If a standard ticket is 10 dollars, students can be 8. Not a major discount, but just enough to encourage student viewership. The NPAC has a lot of seats and is rarely sold out, so increasing demand through a discount would attract students who might not otherwise see the show, increasing the returns of ticket sales.
PRICE ESTIMATE
($90 min) $120 estimated performance fee x 5 shows
Performance fee: $600
(estimated) 10% royalty fee: $1025
$10.99 per script x approx 40 scripts for cast, tech, and production team.
$439.60
Costuming: $850
Set: $1000
Props: $300
Orchestra (I doubt we would need anything, but just in case): $100
Playbills + Design: $400
Merchandise: $800
Total Costs: $ 5514.60
Income
Ticket Income: $10 x 250 Tickets x 4 performances:
$7,500
Children’s Showing Income: 500 children x 2 shows x $7 a child:
$7,000
Concessions:
$300
Merchandise ($5 markup):
$1000
Total Income:
$15,800
Total Estimated Profit:
$10,285.40
Closing Remarks:
We have worked tirelessly to give a full vision of our production. We hope that by looking at our pitch deck, we have shown you just how hard we have worked and are willing to work on this production. One thing that bugs us is when the Children’s play feels like it’s only for children, instead of something that can be taken seriously on its own merits. “It’s student-directed so, it’s not a real show,” “It’s just something kids like,” “After fall shows, Children's shows are kinda lackluster.” These are all comments we’ve heard about the Children's show, and we hope to eradicate these sentiments in our production. We believe that the best children's media treats its audience with respect, which is why we’ve approached our pitch with purpose and great care for details and quality. We have put dozens and dozens of hours over the past 9 months into this project, and we hope our hard work shows. There's a lot in our pitch deck, and we would be happy to meet in person to explain any details or answer any questions you may have had in more depth. Additionally, our show is flexible and we can work inside of any constraints that may present themselves. We hope that the themes of love, self-acceptance, individuality, and triumph over evil will entertain and inspire audiences of all ages. And there is such thing as a tesseract.
Thank you for your consideration!
Adam Stevens,
Luca Doolittle