Growing up, I would take refuge in a character. The only reason I stayed at my high school was the theatre program, and the chance it gave me to slip out of my skin. I only felt truly alive and happy in a rehearsal room, immersing myself in the process of creating a show. I was in thirteen productions throughout high school. My greatest achievement at school was student directing a one act play in the winter of my senior year, a play called "Check Please.".
At Hampshire College, I was cast in two plays the first semester of first year. Both of them were very flawed processes, but I learned so much from observing the directing process of the Div IIIs I was working for. They both had completely different styles and philosophies, as well as extensive training in different disciplines. The first show was a very well organized but emotionally unfulfilled process, with a clear cut schedule, and a lot of dance, inspired by Noh theatre. The second show lasted from September to April, created with the intent of forming a very supportive and collaborative ensemble, but with a very disorganized and overly intensive process that left us actors emotionally drained with very little free time.
The process of creating a healthy show emotionally, especially when dealing with difficult subject matter, is one of active listening. As a director, I find a special focus in a rehearsal room- a focus on all the different things going on around me, the dynamics of actor and character and story and crew and set and costume changes. I pay attention to the script, the blocking, the stage management, the dramaturg, the actors and the distractions that the actors always find. Knowing when to take a break in rehearsal is crucial. I always try to follow the energy; it helps me sense whether to stop the actors and change something, or ask a question, and when to let them plow through minor mistakes.
I try to always laugh with the actors in each rehearsal. Most often, I don't have to try.
I keep rehearsal lengths down. Two hours is the perfect amount of time for a rehearsal, most of the time. Besides tech week, I try to never call actors for more than three hours, four hours max. It just maintains the focus and keeps the actors from becoming resentful. Respecting peoples' time as much as possible makes a big difference in terms of morale for cast and crew. I know it sounds really simple and obvious, but I have been in so many rehearsals as an actor where we would spend hours sitting around, bored and annoyed.
I get to rehearsal first. I am the director, it is my job to be there to set up the space with the stage manager. For the Yellow Boat, I would get there an hour early. With Jumping Mouse, I am averaging half an hour early. It helps me to get into the space in my body and mind.
At the end of rehearsal, I set aside five minutes for check outs. I call everyone together and we sit on the floor in a circle with our legs crossed, and our hands touching each other's knees. It sounds's weird, but the minor physical contact helps create a supportive environment. I then start by telling them how I felt about rehearsal. I am honest. When I feel frustrated, I say so, but I try to keep it as postive as possible because my negativity as director affects how the actors feel. I then turn to my left or right, and we all listen to what they have to say, and we go around the circle. It is important to me that everyone has the opportunity to speak in every rehearsal, so every person in the room, quiet or brash, gets a chance to say how they feel. Then I let them go.
I try to always laugh with the actors in each rehearsal. Most often, I don't have to try.
I keep rehearsal lengths down. Two hours is the perfect amount of time for a rehearsal, most of the time. Besides tech week, I try to never call actors for more than three hours, four hours max. It just maintains the focus and keeps the actors from becoming resentful. Respecting peoples' time as much as possible makes a big difference in terms of morale for cast and crew. I know it sounds really simple and obvious, but I have been in so many rehearsals as an actor where we would spend hours sitting around, bored and annoyed.
I get to rehearsal first. I am the director, it is my job to be there to set up the space with the stage manager. For the Yellow Boat, I would get there an hour early. With Jumping Mouse, I am averaging half an hour early. It helps me to get into the space in my body and mind.
At the end of rehearsal, I set aside five minutes for check outs. I call everyone together and we sit on the floor in a circle with our legs crossed, and our hands touching each other's knees. It sounds's weird, but the minor physical contact helps create a supportive environment. I then start by telling them how I felt about rehearsal. I am honest. When I feel frustrated, I say so, but I try to keep it as postive as possible because my negativity as director affects how the actors feel. I then turn to my left or right, and we all listen to what they have to say, and we go around the circle. It is important to me that everyone has the opportunity to speak in every rehearsal, so every person in the room, quiet or brash, gets a chance to say how they feel. Then I let them go.
