On Directors...

When I was 14, I was doing my first professional opera. I was the only person under 25. I remember my director was giving notes after rehearsal one night, and I was chatting away with a castmate. Suddenly, the director said my name sharply. She then gave me a piece of advice that I've adhered to for the last 17 years. "When the director's mouth is open, everyone else's mouth is closed."

The director deserves respect. Yet, I've seen some directors truly disrespected, especially in community theatre. Not so much in pro theatre; generally, if you're a problem, you get fired. It's not so easy when you're not getting paid. I think people often forget that the task of the director is monumental. One has to have a concept, a vision...one must find a set designer who will help that vision come to life. One must cast the right actors in the right roles. One must babysit the fragile ego of an actor. One must accept 90% of the responsibility if the show flops.

I have had my share of good directors, bad directors, directors who micro manage, and directors who don't direct at all.

I have directed exactly one thing. A one act that Brian wrote last summer for the NVTA festival. It was an easy experience all around...it was a good script, and there were only two actors...Brian & Greg Powell. Brian's obviously the playwright, an actor, AND my husband. Greg is a marvelous, intuitive actor. I knew that I could feel my way around this inaugural experience without worrying that I was stepping on anyone's toes. I came up with a concept and a set. We did some initial blocking. We talked about characterization. I then tweaked accordingly...remembering to make sure that what I usually bitched about while seeing a show didn't happen in mine...no static moments, no unnatural moves...we all had fun and it was a positive first experience.

TIPS FOR A DIRECTOR, FROM AN ACTOR:

-Go over the script on your own time and form a plan. Don't come to the first rehearsal without a game plan because otherwise your actors won't take you seriously.
-Have a rehearsal schedule that utilizes people without rehearsing them to death OR making them sit idly while others rehearse.
-Take into consideration the performance space, the resources financial & otherwise that are available to you, the crew, etc.
-Talk with the actors individually, even before rehearsal...ask them what they think about their characters...and how you see their characters. Get a feel for how they like to work in terms of rehearsal structures, methods, etc.
-If your show requires accents, ensure that everyone can do what is needed of them. If not, reconsider your casting choices, employ a local dialect coach, OR consider doing the show without them.
-Pick a great stage manager. It's one of the most important jobs in all of theatre. Remember that from tech week on, the SM is in charge. The director gives notes and fine tunes hell week, but the SM calls the shots. And after opening nights...no more notes unless they come from the SM.
-Don't be afraid to give notes. Don't be mean, or condescending. But know that your notes could be invaluable to the quality of your show.

TIPS FOR AN ACTOR, FROM AN ACTOR:

-Read the play before you audition. If for any reason you can't get a copy, read at least a plot summary and character breakdown online. Then get to auditions early and look over the available sides.
-Come with all of your conflicts. Put them down even if you think the director won't cast you because there are several. Trust me-if they want you they can work around most conflicts. And if you're not honest, get cast, and then start having to miss rehearsals, the director AND the other actors will be pissed at you.
-Get to rehearsal on time. Have your script highlighted. Come with a clear idea of what you want to do.
-Wear proper footwear at rehearsal. This may sound silly, but ladies...stilettos and flip flops have no place on a stage. UNLESS your character actually wears things like that. You don't have to wear character shoes unless it's a musical, but tennis shoes and flats are a much better idea. No one gets hurt. If you know you'll be in a dress for a show, start wearing a rehearsal skirt. It'll give you a much better idea of what blocking you can and can't do.
-Be quiet when the director is talking, or when other actors are onstage. It's rude to disrespect your fellow colleagues.
-Learn your lines as quickly as you can. It really helps the process move and for the actual acting to begin.
-If you don't like a note from the director, don't address it right there. It's a drag for everyone else standing there while you debate a point, and potentially humilating for you and the director. Wait until after rehearsal, then address the director privately. If he/she gives you blocking or a characterization that doesn't feel right, ask if you can try it two ways...their way and your way. Remember...it's always good to speak your mind if you have strong ideas about a character and why they may or may not move/talk/act in a certain way...but also remember that the director is your eyes & ears. They are the ones who can see the play from a different vantage point. It doesn't always mean that they are right, and actors should always trust their instincts. But if the director is any good, they will be willing to see reason. Usually a happy compromise can happen.
-Write down your blocking. And if a director gives you a note, remember it. Don't make them tell you more than once.
-You don't have to like all of your fellow actors, but give them respect onstage and avoid them in the Greenroom. No point in creating tension that doesn't have to exist. If you hear gossip, go right to the source instead of perpetuating the rumors by asking for more details or spreading it to another person.
-Be nice to your crew. Without them, the production becomes infinitely more difficult if not impossible. The crew has a thankless job. They aren't seen, and they don't get to bask in the limelight. They are volunteering their time selflessly to make you & the show look good...treat them well.

That's my brain dump for today. I'm sure I'll add more, but this is what's been on my mind lately. I've learned lessons the hard way in 19 years of theatre, and I've learned them well. Theatre is an art, a passion, a beautiful expression. It should be fun, joyful, a cathartic experience, respectful, and professional. That goes for all venues.