Directing for community/ amateur theatre
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
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