Artistic side of running theatre company. Many people are unsure of what a play director actually does, so let me tell you.
-Director is the person responsible for the overall production. He/she has to first of all come up with the concept: what does the play mean? why does it matter? how to communicate that to the audience? how should it look? who should play the various roles? what sort of music and lighting? what other areas of expertise? acrobatics, choreography, martial arts, etc.
In all of those areas she can play it safe or take risks. a radical design concept can stimulate an audience or send them away in droves. should she go for obvious casting or cast against type and surprise the audience with a brand new interpretation - an unlikely choice of actor? and what will the impact be on box office? how much should you strive for star names and how much should you honour your obligation to the next generation by giving newcomers a chance? (in this area I'm afraid I tend to be a bit of a softy and love pushing new talent to the fore)
- I try to give myself 12 months to prepare a production, to do the necessary research, to find my designer and conduct auditions. Once I've cast the roles I call the actors in to collaborate on the costumes. the actor has to feel that this entire costume is in harmony with his/her concept for the character. the only catch is the actor saying 'But I don't know who I am until I start rehearsing with the other actors". so one has to leave as much room as possible for late decision for peopel changing their minds, while keeping happy the costume makers who are working to tight deadlines.
- When the set, costumes, props, sound, lighting equipment and area is finalised, I submit the whole lot to eh production manager for costing. my most recent experience of this was with Romeo and Juliet. My production manager looked at the designs approvingly and said "they're lovely. now go away and cut $140000." so you spend the next few months scaling down, paring back to the bone. that's all pre-production,.
- And then comes the intense five-week rehearsal period, to get the whole lot together and put the show on. one of my priorities is to create a team spirit, to make everybody feel included, to make everybody feel that they own the show, to create an emotionally safe environment so that people can take risks and reveal their innermost, private selves without embarrassment. everybody should feel empowered, so that those actors playing the smallest roles I will say, 'show us some exercise or skill we can use in rehearsal, either as a warm up or as part of the show." and when debate gets heated I pass around the director's hat. everybody's entitled to wear it to express an opinion, every suggestion should be listened to, and nobody can be shouted down while wearing the director's hat.
- Say you have to devise a battle sequence, a frequent challenge in Shakespeare. I have two options, I can either call in a fight director to devise it, teach it to the cast, or I can approach it more organically. you can split the cast into groups of 3 or 4 and say "each show me six ways of falling off a horse, each show me six ways of killing someone with an axe." and when they;'ve all had time to work out their routines, we have a show and tell. everybody gets a go and we videotape the whole lot so that nothing gets forgotten. then the fight director and i will sit down and watch the videos, we choose the best dozen or so routines and work out a sequence, with the creators of each routine teaching it to the rest of the cast. What this achieves is a feeling of spoteneity, lots of different ideas and actors feeling empowered, even those whose routines aren't used are happy to have the opportunity to the whole cast and the cast are proud of the sequence that they had a hand in creating, rather than simply learning something by rote.
- The director has to play the benign autocrat, he can't appear indecisive, because that will make for insecurity in the cast. he mustn't appear flustered and impatient. and he mustn't, above all, play favourites.
- One of his hardest jobs is to pace the rehearsal process, with everybody working towards the same goal and being fully prepared by the opening night. he has to learn who to push, and when to just let things coast along. it's like baking bread. he mustn't overdirect, but leave the actors room for sponteneity and ownership of the role. and he must be both a diplomat and a psychologist, learning how to read the signs. at times aggression, defensiveness and even laziness are a cover for insecurity. what the actor needs is encouragement rather than reprimand. the director has to mindful of every individual actor, his needs and his private process, and yet maintain an overview of the whole show.
- Some directors get emotionally need or impatient and this makes the cast distrustful. some directors actually encoruage friction and disharmony in the rehearsing room because they feed off the tension, they feel that it creates drama. I find the reverse and regard all negativity energy as destructive. I feel that I'm not doing this for the money or the fame, so why be miserable as well? in my epxerience it's only a happy and supported team that makes the effort worthwhile. rehearsing room dramas may provide a quick fix, but the long term results of a six month tour can be poisonous.
- But a director can't be too soft either. for the sake of the play he has to keep raising the stakes, encouraging full emotional commitment, pushing the actors to taking greater risks, acting like a drill sergeant when necessary, to keep the show crisp and tight and having the courage to knock back inappropriate ideas.
- Once the show is opened, that's not the end of it. the director has to keep an eye on the play when it's on the road, dropping in once or twice a week to make sure it's still on track, themorale is high and not too many little 'improvements' have crept in.
John Bell (Bell Shakespeare Theatre Company)
Radio National 'Summer Talks' from http://www.abc.net.au/rn/summer/2006/talk/lectures.htm accessed 28th Feb 2007
Volume 8 Number 2: John Bell part I
