Getting students (12-18) interested in theatre Tech

[Aaron Clarke]

Hey all!

I've been recruited to work with the program director for our local community theatre groups children's program to help develop a theatre tech program.

The primary goal is to get more 'kids' interested in working backstage then as they develop and we'd really like to see the program tie in with their traditional education and with the older half expose them to the great technical job opportunities around live entertainment. In other words- fill the gap that our local public schools have created by cutting arts funding.

While I think we have a handle on what to do once a student in interested we're struggling on how to get kids excited and interested in the first place. It looks like the opportunity to really hook them will be via the programs annual summer camp where were think we'll have a tech program, either a week on its own or have it run concurrent with the rest of their summer camp where we introduce students to the main technical areas of back stage- Sets, lights, sound, costumes. After summer camp, those that are interested in furthering their experience will work with the production teams of actual shows during the regular season.

So my question to all of you is what type of activities so you think would help grab the attention of students in that 12-16 age bracket?



Admins- hopefully I have this in the right area!

 

[DVBortle]

One of my jobs is working with a local high school, teaching tech to there production class. So I have my kids and don't need to get them in the door.
That said, the actives that that spark the most excitement is running followspot, playing with the effects on the sound board and creating lighting looks.
I give a short lesson in the basics on topic then let them start playing.As they start exploring I then throw in more info, different Technics and more theory.

 

[Skervald]

Aaron-
I have a dirty secret. I steal kids from the acting program and turn them into techs. [insert joke about the intelligence of actors here. Just remember, these are kids. They haven't been fully indoctrinated into actor culture yet.] It's actually pretty easy. They're all fascinated by the backstage side anyway so I just give them a little encouragement. I've found the light desk is a great entry drug because they like to come stare at it anyway. Show them how it works, let them push the "GO" button, and they're hooked. There can be a little friction between the directors and me at times but I always tell them a background in tech is going to make the kid a better actor. Honestly, the reverse is true as well. If a kid's spent some time performing, they make for a better tech. I've been able to convince them to let me do some little half hour demos with casts or classes. Nothing too in depth but it plants the seed and sparks interest. I think once you get a couple interested, it's going to snowball and recruiting isn't going to be an issue. Good luck!

 

[Doug Lowthian]

I am the Tech Director in a community thearer. We are a multi-age group (age 6-75).
Youth don't want BS; they do not want something 'made for the kids"
They want to doreal authentic wok with real authentic results. I have taken kids who say they want to "help" with back stage and put them to work operating our ETC Element light board during times I am focusing lights; i show them how to program cues and set them loose on a real scene in a ral show. I have tasked 14 and 15 yr olds with researching the ETC tutorials amd manuals to devise a way to program an effect teh director wants to see. I have put them in charge of a followspot and told them to get creative in using teh spot to achieve the goals of the director.

These are not specific activities, per such, but rater than a "camp experience" I find 12-16yr olds want to be real, not pretend. Find authentic, useful, responsibilities for tehm to take ownership of. Works for me. Ended up with a very creative, reliable, cadre of youth who I trust, am able to put in charge of thousands of dollars of equipment, and can recommend to any employer of any kind they apply to.

Fun group to work with if you treat them not as 'kids" but as emerging young adults ready for real life responsibility.

 

[TheaterEd]

I have found a great method is to offer behind the scene tours to groups that come to see the show. For example middle school drama clubs, and girl scout and boy scout groups. I get a lot of scouts in my high school tech club, and a lot of middle school actors don't have the nerve to audition for HS shows so they will often join tech their freshman year. Also, we encourage anyone not cast in a show to work with tech crew since it shows their commitment to the program and will help their chances with future auditions. I would say 50% of the actors in the show I just cast have been on my tech crew at one point or another.

Conversely, I also push my technicians to try acting for a show. I have lost quite a few kids to the bright side of the lights, but they have all thanked me for it, and most come back to the dark side whenever they can anyways.

 

[EdSavoie]

I may be biased, but having a highschool tech club, and tying it into a musical theatre credit is a really effective method for getting new techs.

Obviously you're not going to have the whole club get the credit, but you have the most interested students be in the course, so they get to see and learn the perspective of the actors and how it ties into tech work.

I myself learned Every. Single. Song. Male and female parts, and actually became the universal stand-in during song rehearsals for when an actor was missing. One day, when we were waiting on the director to return, I amused the tired actors by singing most of the songs - facial expressions and all - and somewhat overacting movements. It was absolutely hilarious and lifted their spirits quite a bit after a long drone...

...And I had a load of fun too.

 

[Aaron Clarke]

Thanks for the input so far- I know much more is to come.

I have a dirty secret. I steal kids from the acting program and turn them into techs.

I've found the light desk is a great entry drug

Good news here is the program director is entirely supportive of this. He sees the skills gap his organization has and the impact its going to have on the main stage program in the coming years if we don't get kids (and even parnets) interested in the backstage area. Not sure how much of a drug an Expression 3 is but I do like the opportunity an older/simpler system is to get kids to understand the basics of patching and DMX protocol.

Youth don't want BS; they do not want something 'made for the kids"

This is very much my opinion as well and the program has taken that direction as well doing more modern shows that deal with todays world and more adult topics. The first show I just designed for them (Holes) ended up with students running the entire show. The program director and myself were on headset in a supportive role should we be needed but the stage manager was the only adult (he was just out of the student program himself) that was part of the running crew. I was very impressed and the experience is what sold me on heading up a technical program with them.

I have found a great method is to offer behind the scene tours to groups that come to see the show.

I like this notion. Every show they put on they do a school day show on a Friday and invite local schools. They typically fill the 500+ seat theatre for two shows that day. I could see if time permits offering a post show discussion where you pull the curtain back a little on how the show happens. If there is a complicated scene change may doing for the audience and discussing how choreographed it is.

One day, when we were waiting on the director to return, I amused the tired actors by singing most of the songs - facial expressions and all - and somewhat overacting movements. It was absolutely hilarious and lifted their spirits quite a bit after a long drone...

Well I know I won't be doing that but I'll suggest that to someone else. haha



The two main issues the program faced in the recent past was having someone with knowledge to teach. I'm no professional but I can share some basics for sure.
The other issue is when you had technically talented people in the main stage program there was a lot of that "kids can't handle this" attitude and the program director is working hard to flush that.

From this input I'm defiantly thinking the best exposure may be to provide a little taste of things to the kids that attend the regular "drama camps". Add in a little exposure each day to some area and from there see who bites.

 

[Doug Lowthian]

I certainly am not a pro tech and there is a lot I do not know. I have taught the basics to youth and pointed them in the direction of tutorials and manuals. As a result I have sometimes become the student and they the teacher as I learn new tricks and technique from them. We are in it together; the power dynamic of "Teacher/Student" is smashed and we are peers creating a performance. Very empowering for the young people. I honestly rely on their expertise.

 

[Silicon_Knight]

This is a subject that is very close to my heart, so this will be a long post.

I am a volunteer Tech Director at my local church and Community Theater, and I think this age range is ideal for learning tech! At the church, we produce a touring full-scale musical (set, lights, sound, live orchestra, etc.) with the youth (13-18yrs old - about 40-60 youth total) every year. Five years ago when I first got started, Tech was an after-thought (the "main" groups were the choir and the orchestra). So, a few years ago we decided to make Tech a focus of the group and started holding routine classes to teach the kids about Tech. It's still a growing program and several of the youth are even in Tech Classes in school, but as a touring show many of the things we do are different - building a set that is light enough to setup/teardown every night, sturdy enough to survive going on tour and cheap enough for a non-profit to afford them presents unique opportunities!

As for engagement of the youth, I can wholeheartedly agree with giving them real work/tasks. Of course, sometime this requires extra supervision, so getting some other adults (or experienced, older tech-savvy youth) can be helpful. I try to start our year out with a scavenger hunt with a few teams competing. Each team is given a list of "clues, etc." to gather (e.g. What is the box label on the Sound Mixer? or Where is the rolling Follow Spot stored? or What is the church's callsign for the backstage radios [hint: it's written on the box with the radios]). Alternately, at each key location (we have about 5), there could be a bucket with a variety of items - they have to bring one back. This serves the multi-faceted purpose of being fun, good team building, introducing the new team members to the various areas where equipment (e.g. knowing which location is called "the black hole" or "the garage") is stored and then the items they retrieved (e.g. NEMA 5-15 cord-end cap, XLR-1/4" adapter, PAR56 lamp, DMX cable, etc.) are used as a discussion starter to introduce some of the things that will be discussed that year.

So, we start with basic training on specific topics:

- Lighting - discuss lighting lamp designations - why is it called a PAR56...what other lamps are there? what's the difference between the glass envelope designations and bases? Why can't I just string plugstrips together and connect all of the lights into one wall outlet? How many lights can be connected to a single dimmer pack?
- Sound - What is a mixer, amplifier, monitor vs PA, what's the difference between a condenser and dynamic microphone - how do you properly setup and prep a wireless mic pack, or fit a microphone headset/earset on an actor). What are the names of the various connectors (XLR, 1/4", Speak-On, etc.) and where/how are they used? Why are 1/4" instrument cables thin, but 1/4" speaker/monitor cables thick?
- This approach also allows good cross-training between these areas. Things like: Why is a 3-pin XLR mic cable different from a 3-pin XLR DMX cable.​

Next, we'll un-pack and prepare the light system (it's on portable tripods): adding any newly purchased instruments, testing everything, and label/re-label as necessary - this is also used this as an opportunity to discuss each light type (dimmer vs RGB LED, etc.), experiment with what they can do and how to properly set them up (e.g. LEDs don't go on a dimmer pack, terminating the DMX bus, etc.), how to set the DMX address, what is the channel mode for an LED instrument?

Later in the year, the team will work on actually constructing (and painting - admittedly, my least favorite activity) various set pieces. This includes using power tools, learning the proper names of tools, and even how to use their body properly (get your arm straight and your shoulder behind the drill when trying to drive a 3" wood screw in to a 2"x4" - this will allow you to press hard enough to keep the bit from slipping).

Finally, we start actually holding rehearsals for that year's production. This includes a LOT of setup/teardown (the life of touring show without a fixed performance/rehearsal space).

The Tech Team members become the leaders of the setup/teardown for the rest of the cast/orchestra - showing them how to unbox, setup and cable each piece of equipment, and then ensuring during teardown that cables are coiled (correctly - over/under, and then tied/velcroed neatly) and equipment boxed correctly (and in the right boxes) - so that it can be located during the next setup. Some jobs are small: Get out the battery powered script lights and ensure they are all working. Some jobs are more challenging: Get out the wireless mic bodypacks, set them to the proper channels for the venue, ensure the beltclip and gain switch are correct, then unpack and attach the microphone.

We even designated a "box owner" who was responsible to ensure that all of the given items (yes, we made inventory lists) are in their box before it is closed, and that it is packed neatly and securely.

During all of this, I'm looking for who will be Follow Spot operators, who will be Stage Hands, who will assist with the lighting or sound system setup and teardown (remember, with a touring show, this is an every time activity) - even who will run the Light Console (for now, I'm still running the sound mixer during shows, but I'm always looking for someone who is interested/capable - mixing musicals with a live orchestra can be a steep learning curve for a youth).

Bottom line/TL;DR: Give them responsibility that is commensurate with their age/experience, then let them run with it (providing a bit of supervision to keep them on the best path). As they have success in owning something, they often want to do more and "move up the food chain" of responsibility.

Best of luck!

 

[RonHebbard]

This is a subject that is very close to my heart, so this will be a long post.

I am a volunteer Tech Director at my local church and Community Theater, and I think this age range is ideal for learning tech! At the church, we produce a touring full-scale musical (set, lights, sound, live orchestra, etc.) with the youth (13-18yrs old - about 40-60 youth total) every year. Five years ago when I first got started, Tech was an after-thought (the "main" groups were the choir and the orchestra). So, a few years ago we decided to make Tech a focus of the group and started holding routine classes to teach the kids about Tech. It's still a growing program and several of the youth are even in Tech Classes in school, but as a touring show many of the things we do are different - building a set that is light enough to setup/teardown every night, sturdy enough to survive going on tour and cheap enough for a non-profit to afford them presents unique opportunities!

As for engagement of the youth, I can wholeheartedly agree with giving them real work/tasks. Of course, sometime this requires extra supervision, so getting some other adults (or experienced, older tech-savvy youth) can be helpful. I try to start our year out with a scavenger hunt with a few teams competing. Each team is given a list of "clues, etc." to gather (e.g. What is the box label on the Sound Mixer? or Where is the rolling Follow Spot stored? or What is the church's callsign for the backstage radios [hint: it's written on the box with the radios]). Alternately, at each key location (we have about 5), there could be a bucket with a variety of items - they have to bring one back. This serves the multi-faceted purpose of being fun, good team building, introducing the new team members to the various areas where equipment (e.g. knowing which location is called "the black hole" or "the garage") is stored and then the items they retrieved (e.g. NEMA 5-15 cord-end cap, XLR-1/4" adapter, PAR56 lamp, DMX cable, etc.) are used as a discussion starter to introduce some of the things that will be discussed that year.

So, we start with basic training on specific topics:

- Lighting - discuss lighting lamp designations - why is it called a PAR56...what other lamps are there? what's the difference between the glass envelope designations and bases? Why can't I just string plugstrips together and connect all of the lights into one wall outlet? How many lights can be connected to a single dimmer pack?
- Sound - What is a mixer, amplifier, monitor vs PA, what's the difference between a condenser and dynamic microphone - how do you properly setup and prep a wireless mic pack, or fit a microphone headset/earset on an actor). What are the names of the various connectors (XLR, 1/4", Speak-On, etc.) and where/how are they used? Why are 1/4" instrument cables thin, but 1/4" speaker/monitor cables thick?
- This approach also allows good cross-training between these areas. Things like: Why is a 3-pin XLR mic cable different from a 3-pin XLR DMX cable.​

Next, we'll un-pack and prepare the light system (it's on portable tripods): adding any newly purchased instruments, testing everything, and label/re-label as necessary - this is also used this as an opportunity to discuss each light type (dimmer vs RGB LED, etc.), experiment with what they can do and how to properly set them up (e.g. LEDs don't go on a dimmer pack, terminating the DMX bus, etc.), how to set the DMX address, what is the channel mode for an LED instrument?

Later in the year, the team will work on actually constructing (and painting - admittedly, my least favorite activity) various set pieces. This includes using power tools, learning the proper names of tools, and even how to use their body properly (get your arm straight and your shoulder behind the drill when trying to drive a 3" wood screw in to a 2"x4" - this will allow you to press hard enough to keep the bit from slipping).

Finally, we start actually holding rehearsals for that year's production. This includes a LOT of setup/teardown (the life of touring show without a fixed performance/rehearsal space).

The Tech Team members become the leaders of the setup/teardown for the rest of the cast/orchestra - showing them how to unbox, setup and cable each piece of equipment, and then ensuring during teardown that cables are coiled (correctly - over/under, and then tied/velcroed neatly) and equipment boxed correctly (and in the right boxes) - so that it can be located during the next setup. Some jobs are small: Get out the battery powered script lights and ensure they are all working. Some jobs are more challenging: Get out the wireless mic bodypacks, set them to the proper channels for the venue, ensure the beltclip and gain switch are correct, then unpack and attach the microphone.

We even designated a "box owner" who was responsible to ensure that all of the given items (yes, we made inventory lists) are in their box before it is closed, and that it is packed neatly and securely.

During all of this, I'm looking for who will be Follow Spot operators, who will be Stage Hands, who will assist with the lighting or sound system setup and teardown (remember, with a touring show, this is an every time activity) - even who will run the Light Console (for now, I'm still running the sound mixer during shows, but I'm always looking for someone who is interested/capable).

Bottom line/TL;DR: Give them responsibility that is commensurate with their age/experience, then let them run with it (providing a bit of supervision to keep them on the best path). As they have success in owning something, they often want to do more and "move up the food chain" of responsibility.

Best of luck!

@Silicon_Knight When you wrote: " How many lights can be connected to a single dimmer pack?" I couldn't help but wonder 'How many married dimmer packs do you have?'
Toodleoo!
Ron Hebbard.

 

[Silicon_Knight]

@Silicon_Knight When you wrote: " How many lights can be connected to a single dimmer pack?" I couldn't help but wonder 'How many married dimmer packs do you have?'
Toodleoo!
Ron Hebbard.

Because it's a touring rig, we use mostly batten hung (well, tripod hung) 4ch dimmers that are 5A/ch w/ 15A max (ADJ DP-415s and similar). Many of them have duplex outlets, so there are times where we might put 2x150W PAR38s on a single channel. Otherwise, the discussion is usually around how many 300W or 500/575W lights can be used such that the 5A/ch and 15A/pack limits are not exceeded (including a little room for margin). This even leads to using some algebra with Ohm's Law...and they said we'd never use Algebra!

 

[TheaterEd]

I'm always looking for someone who is interested/capable - mixing musicals with a live orchestra can be a steep learning curve for a youth

My first experience with tech was as an eighth grade student running sound for a high school show. A parent ran the leads body mics and instruments, and I got to run the area mics. That lead to learning to mix full bands at church, which lead to high school sound engineering classes, which lead to me being the go to sound guy throughout college and now as a professional. The board is definitely the gateway drug, so I very much recommend just picking a couple of the less 'mission critical' mics and putting a kid in charge of those channels. I'll usually give them the overhead mics and one or two wireless to turn on and off.

When you wrote: " How many lights can be connected to a single dimmer pack?" I couldn't help but wonder 'How many married dimmer packs do you have?'

Pretty sure Ron was implying that when two dimmer packs have been together for a very long time, they get together before god and their families to join in holy matrimony. (The fact that I can't come up with a light or electricity-based marriage-pun to include in that sentence is killing me. Way too early this morning)

 

[Silicon_Knight]

My first experience with tech was as an eighth grade student running sound for a high school show. A parent ran the leads body mics and instruments, and I got to run the area mics. That lead to learning to mix full bands at church, which lead to high school sound engineering classes, which lead to me being the go to sound guy throughout college and now as a professional. The board is definitely the gateway drug, so I very much recommend just picking a couple of the less 'mission critical' mics and putting a kid in charge of those channels. I'll usually give them the overhead mics and one or two wireless to turn on and off.

Pretty sure Ron was implying that when two dimmer packs have been together for a very long time, they get together before god and their families to join in holy matrimony. (The fact that I can't come up with a light or electricity-based marriage-pun to include in that sentence is killing me. Way too early this morning)

Great idea on splitting the mixing responsibilities.

I couldn't quite tell if Ron was being serious in his post - come to think of it, I occasionally miss those clues in-person, too!

 

[StradivariusBone]

I get a lot of my kids from the other art programs. They see techs working and want to know what that noise is all about. The other way I've recruited is during a "program offering" night, where prospective kids come out to see a showcase of all the programs our school offers. I usually have my techs run some crappy DJ lights off a laptop and program a couple of cuestacks to timecode. It's good practice for them and teenagers are attracted to flashing lights and noise.

Take the time to think about the culture you want to have on the crew. Is it a tight-knit group that runs like a clock? Are you planning on making it more of an educational experience where mistakes are allowed/encouraged? Is there an emphasis on the final product and deadlines are crucial? The kids will model your culture over time, but it takes consistency in getting them there. I'm on year 5 in my current gig and I just now feel like we've got a decent system going. I still tweak it a lot, but it's less trial and error now and more based on what worked in the past vs. what was a pain last year, etc.

 

[What Rigger?]

I am the Tech Director in a community thearer. We are a multi-age group (age 6-75).
Youth don't want bullshit; they do not want something 'made for the kids"
They want to doreal authentic wok with real authentic results. I have taken kids who say they want to "help" with back stage and put them to work operating our ETC Element light board during times I am focusing lights; i show them how to program cues and set them loose on a real scene in a ral show. I have tasked 14 and 15 yr olds with researching the ETC tutorials amd manuals to devise a way to program an effect teh director wants to see. I have put them in charge of a followspot and told them to get creative in using teh spot to achieve the goals of the director.

These are not specific activities, per such, but rater than a "camp experience" I find 12-16yr olds want to be real, not pretend. Find authentic, useful, responsibilities for tehm to take ownership of. Works for me. Ended up with a very creative, reliable, cadre of youth who I trust, am able to put in charge of thousands of dollars of equipment, and can recommend to any employer of any kind they apply to.

Fun group to work with if you treat them not as 'kids" but as emerging young adults ready for real life responsibility.

Doug is right on all points. They don't want BS. Treat them as young adults and you could be surprised by the high percentage that mature rather suddenly because of the gig.

I assisted a friend many years ago with a middle school program, and when I was given the crew kids the first thing I did was show them footage of Metallica (on VHS, from the "Binge and Purge" boxset...like I said, years ago). I made the point that there are people in the audience. People in the band. But all that gear, and that stage, etc... is all built and operated by PEOPLE; and they could be those people, and I could show them how to start.

20 years later, 5 of those kids are now better techs than I am.

 

[gafftaper]

Lots of good thoughts here. I have been teaching kids tech for a long time. In my district tech is a volunteer branch of the ASB Drama Club and not a credit class. We are required to teach a 10 hour safety training course, which goes over basics of safety in every part of the theater along with proper basic operation of lights and sound. When they are done I just invite them to show up and work on shows. A kid who has never run sound before shows up and finds him/herself running a microphone during a parent meeting or choir concert. As has been said don't dumb it down, respect them and put them to work. The good ones will step up and keep coming back for more. The bad ones will get bored and not show up again.

As for how to draw kids into your community theater, is there any drama at the local high school? I would call up and ask if you can volunteer to do some training for them in drama class about tech theater. When you are done ask if any of them are interested in coming down to your theater to do more.

 

[kendal69]

Kids like shiny things. What I mean by that they like to see things happen. I would do a seminar, into class, etc to a group of kids. In that class I would do as may "tricks" as you are able to provide. Have multiple lights that do multiple effects. Rotating lights, "disco lights" mirror ball, smoke machine movers, gobo's, confetti cannons, etc.
During that "seminar" I would explain to them how what they do at the lighting console. Show them that THEY are as important as the actors on stage. Show then THEY Are the boss of how effective the show is. Show them how different color lights effects the mood of the audience ( red vs blue vs amber ). Show them how simply adjusting the lightness and darkness effects the room. Kids need to see things happen, they want to be important, in charge etc. They do not want to feel they are a second-class citizen - no one does.
You can do the same with sound, scenery, painting effects, building techniques, sound effects, etc etc.
Good luck

 

[kpetrella]

Hi Aaron,

It sounds like the acting side of the program is already fairly strong, in terms of recruitment and numbers. If it is, you already have a great pool of kids to tap into! Siblings! If 3 of 4 kids in the family are already involved, having a place for kid number 4 who doesn't want to be on stage is great. The parents will love it because it becomes something they do as a family. Bonus if you can have your tech kids meeting the same time as the actors, mom and dad actually get a little alone time!

Reaching out to other local programs is great too, whether it's the high school or middle school program, churches etc. Anywhere you bill the acting side of the program, bill the tech too. I work with two different kids programs, and we always always always bill that we offer on stage and off stage opportunities. Right now our high school program (which is after school, not for credit, etc) is at about 80-100 participants per production, and we have a staff of 3 tech directors to keep that many kids working. We owe it all to good outreach for the program AS A WHOLE, acting and tech together.

Lots of good ideas here for what to do with the kids once you have them, and how to run the program. I won't make this long and rehash anything but this: definitely make sure you aren't talking down to the kids! They can smell BS a mile away, especially kids around 12-13. They still look like children, but they are ready to be talked to like adults. (Middle school teacher tip! talk to them like adults, even if you know they will need WAY more supervision on a task than you are letting on). Nothing will turn kids off your program faster than feeling like you don't trust them with real jobs, or you don't respect them as people.

Good Luck!

 

[taneglaus]

Hands on...hands on...did I stutter? HANDS ON! My experience with teens is that the idea of theater tech crew is blah, but once they see the light board make lights do their thing, or send sound through the mixer and speakers they see it as cool.
Some tech directors or persons over the technical equipment don't want anyone touching 'their' gear. But you have to let the kids see and touch...and play with.
If you have moving head lights, give them a list of the functions, give them a little demo, and then let them play with it. Ask them to make the light do some cool things and Leave them to it. They will figure it out.
Similar with sound...esp if you have a digital sound console. Save the shows settings and then show them how it works and then let them play with a couple wireless mics, or music playback. Demo sound effects...that's totally cool. Wearing headsets gives them a sense of authority...or belonging to some higher force...

 

[lorilights]

I teach at a Community College but recruitment is the name of the game and one thing I find is that it is very helpful to have people who are very positive about what they do go in and talk to students - I steal a lot of actors that way. And having fun stories about real-life situations and incidents helps as well. Giving away swag has attracted more than one (what do you do with your leftover scraps of gel...besides craft projects of course ). Plus everything else suggested above - running a show is what snagged me at 14. And now 40-some years have passed and I'm still at it! Not to mention (I DO mention it all the time to potential recruits) employ-ability. Last but not least, if they're actors on your turf turn some pretty lights on and teach them how to find the hot spot. LDs in the making!