LINX Theater Frequently Asked Questions

There are two performances per school year for most troupes. They fall in the months of January and May/June. We take holidays, vacations and end-of-school into careful consideration. The specific day of the month can shift due to theater availability.

No, the Fall and Spring performances are completely different shows. You are only required to be in the performance of the season you are registered for.

No make-up should be applied at home unless communicated otherwise. Performers have make-up applied if their character requires it.

No. Costumes are provided as part of the theatrical program. There are no costume fees.

Often we ask characters wearing pants to bring their own in a color that compliments the upper section of the costume and shoes are often the child's own. Uggs are great replacements for historical boots if the child does not own a pair of leather or buckled boot. Dance shoes work great as historical shoes for girls. Boys should wear an older pair of shoes for historical shoes (we don't want new shoes getting scuffed and scratched). If no footwear works, the performer needs to notify her or his director while there is time to compensate.

No. All costumes are drawn from LINX's wardrobe or purchased specifically for the performance through that show's director.

When make-up is used we use child-safe make-up, but allergic reactions could occur so it is better to be safe than sorry. The director can test by placing a drop of make-up (not red) on the performer's inner wrist, a sensitive spot. This child washes it off in an hour. Next morning, check the inner wrist for a rash.

No. It is possible that two performers may share a shirt or dress across different productions, but never hats. If three performers play the same character across the shows, three hats will be purchased and labeled for that performer.

No. Performers, young or old, should finish food before passing the inner-lobby doors unless otherwise noted by the director. For instance, certain programs which run through dinner time may be served pizza. This would be communicated ahead of time.

Halfway into a production, the next season's title will be announced and can be found on the troupe's program page.

An unrecognized title will normally occur in Company or Elementary Recreational. It can either be an original work or a new adaptation created to provide more equal parts as well as because it introduces the performers to certain elements of history or literature. Although they may be unrecognized, all titles are carefully selected to appeal to performers and the adults watching!

Performers in 2nd grade and up should bring their script to each class to reference. Younger performers should not bring their script to class.

We provide the invite-only kids a month to learn their lines so they can really start learning to act. The end goal is no longer to learn lines and present them onstage. The kids have delved into character development, physical routines, and many other facets that require the script to be out of one's hands. The longer they are without a script, the more confident they are onstage and one avoids the stress of cramming close to show-time which can coincide with other projects at school and other extra-curricular activities.

We understand that there are medical appointments or other events that can conflict with a rehearsal. We ask that missed rehearsals be kept to a minimum so the children feel part of the ensemble.

LINX Theater has constantly evolved to better serve our performers' confidence and creativity. Learning essential skills in their selected technique class will aid them tremendously in rehearsals and make them highly competitive players in the future. Technique classes also expand their 'family' of friends.

From the youngest troupes up, all shows except Adventure Theater have song and dance elements. The breakdown of dialogue and music in Broadway is often 50/50. In Company, it is often 75/25, dialogue to music. Other troupes usually have three or four songs as part of the production.

Kidservatory (3-5yrs) performs on a small, intimate and encouraging stage. Kidservatory students do a lot of creative play during their rehearsals as they learn what it means to pretend and put on a show.

Showstoppers (K-1st) also performs in the more intimate and encouraging stage area. While also teaching children fun songs and dances, the focus here is the theatrical performance with increased spoken word and movement. Showstoppers students begin to learn character development and acting technique.

Recreational Theater (2nd-8th) allows performers to help sculpt their own show. It is perfect for the new performer, creative writers and those who love theater but do not have much time in their schedule.

Adventure Theater (3rd-8th) is an exceptional program in many ways. It runs from November to March, has no singing or dancing, but focuses exclusively on dialogue and physical performance. Athletes to participate who normally have scheduling conflicts due to practices and games during the rest of the year. It performs in an intimate setting.

Company (Levels I - IV) Adaptations of classic stories and intriguing original works provide balanced roles that delight players and audiences alike. Players are constantly challenged to take roles they have not experienced before, stretching their abilities and keeping them from being pigeon-holed by future directors. Those who pursue careers outside performance carry an advantageous ability to innovate.

Broadway (Levels I - IV) Classic Broadway titles come to life with great effect. Through auditions, every student has an opportunity to become a cherished lead role. Those not in a 'lead' or 'title' role for one season, enjoy massive amounts of stage time, often playing more than one character and appearing in the multitude of musical numbers and scenes. In the meantime, they work on their craft, increasing their chances of winning a coveted role in the next season.

It is common for performers to be with a troupe for three seasons before having the skills, confidence and maturity that will keep them from becoming stressed in the next level.

The director is studying more than just their talent or age. A director is looking at the performer's commitment, passion, imagination, ability to learn required skills in a timely fashion, and focus. Most of all, the work must be fun for the performer to avoid stress.