Should I ever have the opportunity to direct a show (Musketeers or not), I'd want to be effective, efficient, and eloquent. So this post is sort of a running To Do list (last updated August 2013) for my future director self, from my current actor self's point of view.
1. Know your script before auditions. I know this sounds like a gimme, but you should have read the script at least four times before auditions. Research the facts of the story. If it's set in 1948 England, know what is happening in 1948 England and the rest of the world. What historical events might have had an impact on the character's lives? Why did the author choose to tell this story, and why did he/she choose the words he did?
2. Before auditions, know the show: Have the set sketched with important pieces drawn in more detail. Have some blocking worked out on that set. Know the general feel of the costumes and the overall mood of the show. Even if you have directed/done the show before, approach with fresh eyes.
3. Make sides and detailed synopsis/history of the show and its characters available before auditions. Cold reads do nothing but make actors nervous.
4. Be on time and ready to go for auditions.
5. If anything has been cut from or added to the script, particularly if those changes are not fully reflected in the script given to the cast, a preliminary read-through is a must. The whole cast must know what's in and what's out so they can begin to become familiar with the script as it will be presented in your particular production. During the read-through, vocally set the scene as you anticipate it will be, so from the very first rehearsal, the cast has an idea of what you envision.
6. Share with your cast the history of the show, particularly if it's a classic Broadway script (musical or not). Give them some background on the author, about the show's stage history, about some of the various actors who have played the principal roles, and perhaps some of the different qualities each actor brought to their characters. While you are in no way attempting to 'copy' earlier productions, classic shows carry with them a certain burden of audience expectations, a responsibility to do the show justice, and every castmember must share in that burden/responsibility.
7. After the read through, encourage your principal actors to read the script again at least twice more before the next rehearsal. At a subsequent rehearsal sit down with them and discuss any character and inter-character dynamics that are necessary to the plot and/or flow of the story. Then talk to the actors one-on-one; find out their vision and share yours regarding each of their characters. Aside from specific traits written into the script or integral to the character (like Quasimodo's hunch), allow the actor some freedom to bring his or her own interpretation to the role. If you and the actor have very different views, find a compromise and through the following rehearsals, initiate two-way communication about what's working and what isn't. Remember that you're working with a stage script and not re-enacting the movie. Different actors bring different qualities to their characters, and attempting to make them echo the movie character is unfair.
8. Encourage communication from the start. Make sure actors have your email address, and let them know it's okay to ask questions about characterization, blocking, accents, etc. Perhaps even set a consistent 'Director Access' time: arrive early to rehearsal one or more days a week, specifically to make yourself available outside of rehearsal time to discuss any issues actors may be having.
9. The cast will work better together when they feel like a family, when they feel like they are sharing in a common journey. And they'll work better with you if they feel like you are on the journey as well, rather than dragging them all along. Do something just for fun (team building) once a week. Where possible, include your prop/costume masters, stage manager, stage hands, and producers.
10. Even though you and your prop/costume masters may be getting paid, remember that your actors are there giving of themselves because they love what they do. Model leadership for and discuss leadership attitudes with your prop and costume masters. Encourage them to work with actors on costume and prop decisions that affect an actor's characterization.
11. Effectively memorizing lines involves more than just rote memorization. A great deal has to do with how the lines are paced in the scene, what other characters are saying, how other lines are played, and any actions that may go along with the lines. It's a total brain thing. At home, actors can certainly memorize lines by rote using their own tempo and cadence as a memory aide. But when those actors are on stage in the scene and the lines are spaced differently, paced differently, played differently, and stage direction is added, the home rote-memorization can fly out the window. Block all scenes as early as possible, and run all dialogue scenes at least once a week, so actors are familiar with the spacing, pacing, and blocking of their lines and have ample opportunity to practice onsite.
Suggested rehearsal progression:12. Foam board is your friend! Work with your set designer to create a scale model of the stage area and any set pieces you envision. This will help you, as director, work out blocking, and help your actors better envision both the overall concept and the stage 'pictures' you have in mind.
1. Read-through
2. Music
3. One-on-one character review
4. Blocking
5. Blocking
6. Music
7. Blocking
8. Blocking
9. Blocking
10. Music
Etc.
13. It's okay to change your mind. It's bound to happen as rehearsals unfold and you see that this or that won't work as you'd envisioned. But be sure to communicate changes effectively. It's a good idea to preface the change with "This is a change," so the actor knows.
1 comment:
This is a great list. I hope you get to direct one day. :)
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