Directing

I believe that the director’s place at the table must be one of service, humility, and ambition. There are usually dozens of individuals who are relying on you to craft a compelling, effective story, in such a way that everyone involved can feel a resounding pride about their work and a firm respect for their fellow collaborators. Since we cannot control the exact number of individuals who will join us on this journey as an audience member, what a director can do is focus their work on enriching the lives of everyone in the rehearsal hall, at the production table, and eventually, our treasured audience.

When approaching a play, opera, or musical, there are a lot of variables to consider. I’m not talking about the ways you could set King Lear to make a bold political statement, or what the sociopolitical implications are of braving a production of The Mikado in your town, though they are valid questions. You have to consider the company you’re working with – their direction, philosophies, and desires for growth. How does the show fit in their season? Why did the board gravitate towards this script? What are their audience’s expectations and desires? Well before you sort out the first beat of the show, you must affix the proper lenses to work with all the invisible hands at play. Leverage the reputation of the company you’re with. Play with audience expectations. Explore hooks to other shows in the company’s season. How can you enmesh a production into the very essence of a production company? That’s where I try to begin my process.

Once that’s sorted, and you have a place to start from, then the whimsy can begin. Decide on what agreement you need to make with the audience for them to come on a specific journey with you. If you want to move them to tears, the tacit agreement you have with them is very differently structured than if you want them to raise their spirits, delight them, lead them down a rabbit hole of thought, inspire mirth. And all the same questions can be asked of your performers. Their buy-in, respect, and good-will is the single most valuable asset in the rehearsal hall. Every call is another chance to make meaningful art with brilliant collaborators, and is to be treasured. It’s my mission to make sure the singers and actors I’m fortunate enough to work with feel that way too.