Directing for
community/ amateur theatre
Walking the tightrope
In any
theatre company, but most especially in an amateur or community group where
levels of expertise are very varied, the director can make or break the morale
of a production, and of the group as a whole.
This is
written from my experience both as a director and as a performer.
From the
point of view of the performer, a director should be able to clearly impart
their vision, for the production whilst also maintaining the morale of the group.
A director who appears rigidly inflexible, nervous, unapproachable or angry,
will cause cast members to feel alienated, and unappreciated. A director who is
overly laid back will cause a cast to become undisciplined, fooling around to
occur in rehearsals, and lack attention to the ultimate goal, a high quality
performance.
Either
extreme, and the production will suffer, cast members may drop out, or at the
minimum will fell discouraged. Every director has their own directing style,
but it should fall somewhere in the happy medium between the two extremes.
A director
needs to keep a balance. Discipline, but flexibility, allowing performers to
feel values and able to make suggestions or ask questions, and a sense of
humour are vital pre-requisites, as well as being able to impart their artistic
vision to the cast, and help the performers reach targets (e.g., lines learnt
by a given date).
If I were
to sum up the indispensable qualities of a theatre director, they would be
-
an
ability to communicate, in a consistent, firm but sympathetic manner, the
vision for the show
-
-
To have a definite concept of the show, but remain flexible to necessary
changes, and not to be “precious” about the project, - what is in the best
interest of the cast, production, and paying public?
-
To
understands how the performers may be feeling. This requires a large amount
of prior experience as a performer,
under various directors, before beginning to direct yourself.
-
having seen other directors at work, and been able to critically evaluate
their successes and failures.
-
Remain
– or at least outwardly appear – calm, and confident, we have probably all encountered
directors who shout and scream as a habit, or who make you feel one-inch high,
or whom you feel that you cannot approach with ant question or suggestion. As a
director, try to avoid this – if criticising, try to make it constructive –
what methods would you suggest for the performer to improve, for example?
-
When
occasionally, you do have to raise your voice, or severely reprimand someone,
your words will carry a lot more weight.
-
Make
your cast feel valued. Praise wherever possible, listen to questions and
suggestions (if a suggestion is rejected, explain why not), bring a packet of
chocolate biscuits to rehearsals for your cast; communicate successes like
positive audience feedback. Anything to encourage people, and let them know
that they are valued.
-
Maintain
discipline, but know when to laugh. Set a few ground rules for the cast and
make sure they are adhered to. Mine are that cast arrive on time or text/ email
ahead if absent or late; to remain quiet while not on stage (so as not to
distract those currently “on stage”,), to not use mobile phones in rehearsals,
to learn lines/ cues / movements etc by set deadlines. I also expect cast
members to treat everyone else with respect and courtesy. The occasional group social event, like a
trip to the pub after rehearsals, or a meal out, also helps foster group
cohesion.
A director
has quite a job to do – as well as communicating what they envisage to the
actors, they needs to be able to communicate with costume, props, technical and
publicity departments!
Keeping a
diary of each rehearsal is useful, as well as announcements and notes given to
each actor,. This a superb tool to maintain constancy of direction from one
rehearsal to the next.
Do not settle
for “that is enough and will do”, instead go that extra mile, encouraging your
cast to achieve their very best.
Always remember,
if a show goes well, the cast get the credit, if the show goes badly, the
director gets the blame.
Laura J
