Beginnings

When, exactly, does the theatrical production begin?

With the playwright’s final draft of the script? This is a blue print only; the show itself will be a completely different production with each cast and crew. Theater is a collaborative art. Still, the playwright is the genesis of the play, without a doubt.

Does the production begin with the first production meeting? The director and the designers gather to share the vision for the production. The artists who will collaborate to shape the visual and aural impact of the production share their ideas and insights about this play. This particular incarnation of the show begins to be realized with this first production meeting.

Or does the production begin with the first rehearsal? The actors gather with the director and production stage manager to share a close reading of the script- out loud—together—for the first time.

Any of these might be considered the beginning of the production.

Our first rehearsal for Unshelved was this week. Frigid temperatures and piles of snow did not deter our intrepid cast from meeting – for the first time.

A first rehearsal is something like a first date- but you already know that you are married. You’ve already committed. There is no turning back!

For the director, seeing the actors assembled and hearing them read together for the first time is exciting—but it can also provoke a bit of nervousness. Will the right relationships happen with these actors? As a guest director, I traveled to Chicago months before rehearsals were to begin for the auditions and casting. Time constraints meant that although I saw each of my actors several times, I didn’t have the opportunity to see these actors working together. I knew, I had every confidence, that this was my Audrey, this was my Bill, this was my Rye, this was my Eloise. Yet I hadn’t seen Debra working with Mike; I hadn’t seen Johnny working with Michelle.

Will this assembly work?

I am happy to report that this assembly will work, and work beautifully.

For more information on how you can engage with this production- at every "stage" of the process- click here.

*Use discount code "Audrey10" when ordering your ticket to save $10!

Make 'em laugh!

For the past two weeks, in near record-breaking heat and humidity, I've been spending about 12 hours a day rehearsing.

We open tonight with Taming of the Shrew.

We have two casts: one cast pretty much according to gender expectations: men playing the male roles, and women playing women.

The other is an all-female cast.

I am looking forward to the audience response.

I am nervously awaiting the audience response. With comedy, they gotta laugh. If they don't laugh, you didn't succeed.

The casts are both just about ready-- just awaiting the energy and sense of fun that the audience can bring.

Make 'em laugh, teams!

scheduling

I've just finished the rehearsal schedule: version 1.0-- for the current production. Scheduling rehearsals for a summer production of a youth theater is TRICKY. Our troupe insists that the last two weeks are clear for our cast members to concentrate on the play. However, when working with teens in the summer time-- with summer vacations, family events, lessons and classes, the process of scheduling involves intricate intellectual acrobatics.

I have completed a schedule that will please no one, and will barely address the needs of the production.

I've covered everything: working with the text, character work, stage combat workshops, blocking rehearsals, working rehearsals, stumble throughs, run throughs and tech. I've set deadlines for props, for lines learned, for costume parades, for set construction.

I've committed approximately 200 hours of my life over the next month and a half.

And I know I will be scrambling at the end...

Goal: for the next show I direct, I will have a set rehearsal schedule that the actors adapt to, rather than the scheduling-- and the director-- adapting to the actors.

Casting

Casting is one of the most difficult of the director's tasks. Getting the right actor into the right role is a critical decision for the success of the production. In fact, one old saw has it that "80% of good directing is good casting."

So how do you do it?

Because I work in youth theater, and because
-process
-learning
-freedom to create
-empowering young people

are all high values, I often invite input from the soon-to-be actors on the audition sheet. I ask the auditioners to list their top 3 choices, if they could be ANYONE in the play. I state that while there are no guarantees, I will take their interests into consideration.

In more recent years, I have given the option to just list "small, medium or large" part. I have also started including a question allowing actors to note parts they would NOT want to play.

This has been very helpful for me. Often, the young people have a far more keen insight than one might expect into what they are ready for or will fit for them.

Still, since I often direct Shakespeare, where there are about 6 or 7 male parts for every female part, and because I am directing youth actors where there are 4 or 5 female actors for every male actor, I still have my challenges.

Even though I ask for the top THREE choices, I will still get auditioners filling out forms that say 1. Kate 2. Kate 3. Kate.

I agonize over casting. I spend a long time over it. Lately I've taken to creating a spread sheet of all the characters, then listing under each character the actors who would like to play it.

At least then I can get a visual.

AND I also, more often than not, have two complete casts per production. Double the rehearsals, double the fun...

This helps a bit more than it impedes the casting process.

So:

I have a list of characters; I have a list of actors who want to play the characters. I also have my "feel" for each of the characters. Orlando should be taller than Rosalind. Rosalind should be playful and witty.

At some point, I have to bite the bullet. Letting all the above information roll around in my head and my heart, I then write out the cast(s) that work for me and with my group. Then I double/triple/quadruple check, to make sure that I haven't cast brother and sister in roles where they have to kiss each other, to make sure that I haven't cast someone in THE ONE ROLE THEY WILL NOT DO, to make sure that I have respected scheduling conflicts to the best of my ability.

I take a deep breath.

And I send it out.

Almost invariably, by a few weeks into rehearsal, no one can imagine the play being cast any other way. Each actor comes to love his or her role.

ALMOST invariably.

Yet, every time, it is a struggle.

So, when you see the role you've been cast in, and it isn't your top choice, take a moment to realize in many, many places, there are those who aren't cast at all. And, for a caring director, this casting process was a difficult one, invested with love, care and artistic vision-- and a bit of pain and worry, too!

audition / orientation

I am overwhelmed! Close to forty kids showed up for our audition/orientation. About 10 were coming in via Class Act 4-H, the younger ones. Then the other 30 or so were MYT age. There were perhaps 10 who were brand new.

Casting will be a bear; I'm not even going to look at it until tomorrow, AFTER teaching. Too much!