Casting the Same Kid In Every Show is Bad for The Kid Always Being Cast

Hannah Renee Crawford, Guest Editorial

We’ve all heard it before, “Directors, stop casting the same performers for every single show.”

It’s disheartening for incredibly talented performers who can never get their foot past the favorite shining performers that each theatre seems to have. For those of us who have directed before sometimes this hits home, and other times we think that other people just don’t understand. 

Years ago, I worked as a youth theatre director, and I loved every single moment of it. However, if you asked me what one of the hardest things to do was to select cast members. I had only a few performers who were heavily involved in the youth theatre. They were there for every single event, volunteered whenever they could, and whenever they were cast they showed up to every rehearsal on time and memorized every line perfectly. 

Performers like this are a dream for a director. We struggle so much with actor call-outs, drop-outs, or actors who just don’t care to take their roles seriously. So, when we find those who do, we end up overcompensating that gratitude and cast them more than we should. 

I led a dramatic production season of teenagers 12-17 every semester where we would perform a full-length play. There was a girl (let's call her Jane) who was especially talented and was around 14 years old. And every season, I would cast her in some large role, because at the end of the day, I knew Jane could get it done, and it was one less thing I had to worry about. 

Until I started being subtly reminded through talk amongst theatre professionals and reading blogs (such as this one) that directors needed to stop selecting the same performers for every show. 

So, I decided for this next round of shows, I was going to look at other talent for the lead roles. I selected an aspiring actress who knocked her audition out of the park for the main role. And Jane was chosen for a small role. I felt good about my decision but knew Jane would take it hard. (Little did I know.)

A few days later, Jane stayed after rehearsal to talk with me. And the conversation went a little something like this. 

Jane: Hey, Miss Hannah, I just wanted to talk to you about the casting for the show.

Me: Hey Jane, I figured you might want to talk at some point. What’s going on?

Jane: I just don’t understand why you didn’t choose me for the lead role. I get it every single show. And I’m perfect for this role. 

Someone, please understand the out-of-body experience I was having at that moment as I wanted to royally smack myself in the face. In my desire to create less work for myself every season and choose a talented performer, I was helping to shape a self-conceited actress who thought she was too good for a smaller role. 

From this point on I knew I needed to accept the challenge of helping to shape great actors and actresses and not allow myself to take the easy road out.

I also needed to help my performers deal with the emotions of accepting a lesser role. 

Director’s Challenges in Shaping Less Talented Performers 

Choosing a kid who doesn’t have the talent and experience that another does is a challenge. There’s no way to sugarcoat that. Some kids don’t know how to enter their blocking correctly, aren’t used to week-long tech weeks, don’t have any theatre make-up (let alone know how to apply it), parents who aren’t as involved and don’t make it a priority to make sure their kid is there before rehearsal starts, and the list goes on and on

However, for those of us who have or are currently working with youth, we must help mold them into the actors and actresses that they need to be.

It’s not for everyone; I’ll be the first person to tell you not everyone is cut out to direct, instruct, or coach youth ages. And that’s okay! But, for those of us who are, we are helping to shape the next generation of actors and actresses. And how they turn out is a direct reflection of our work as youth directors. 

Coaching Kids on Accepting a Lesser Role

Let’s be honest; for kids and adults, getting a lesser role sucks. For example, there’s a huge difference between playing Belle in Beauty and The Beast and a supporting ensemble part. There is the potential of seriously making an actress feel hurt for getting the lesser role.  

As directors and coaches, we need to give youth performers the space to be upset (at the appropriate time and place.)

Yes, sometimes it is necessary to have the “suck it up buttercup” talk if it gets down to it. But, to start with we need to be understanding of the emotions that young people go through and how difficult it is for them to navigate something they don’t fully understand yet. 

Back to the story of Jane coming to talk to me about not getting the role she assumed she would get. After I listened to her vent, I talked to her about how we don’t always get the roles we want. And that while she has done some amazing work in past shows, it is now time for someone else to shine. 

I didn’t rush her feelings or invalidate the emotions she was experiencing. Of course, she was disappointed for not getting the role she was hoping for, snd she needed the safe space of being able to talk that out with her director. 

From then on, I dedicated every single show to sharing with my actors that “all roles are important.” We cannot undervalue any role: from lead roles, non-speaking roles, ensemble, directors, stage managers, and lighting operators, to the ushers. 

It takes every actor and every role to make a show work.

Some kids (and frankly, some adults) need to learn this lesson.

My advice is: don’t shy away from it, just because your job as director will be made easier, or to avoid difficult conversations with certain kids and parents. 

It is the job of a youth theatre director to not only think of the current show but think of the kids’ future in theatre as well.