You’ve just survived the painful experience of casting the play and your chosen actors are assembled for the first read through. You would love it if they’ve actually read the play, thought about it and got to know their characters
Listening and watching (in a positive way) are very underrated. In a previous ‘life’ I was a therapist (remedial massage mostly) and I spent many years teaching others how to assess the varying conditions of their clients.
Ok, hands up .. who likes auditions? No one? Well, there’s a surprise! I absolutely hate auditions. As director I always want to give everyone a part, preferably the part they want.
What does the Director do? You might well ask! I’ve seen many directors at work and some appear to think it is entirely to do with deciding which side to make your entrance from and where to stand when you
Confession: I HATE scene changes. That moment when everything comes to a standstill, the magic disappears, the lights go dim and people in black clothes start whoosing around the stage moving bits of the set on and off. I hate
I never stop dreaming and I never stop planning either. These two things work well together – in fact it is crucial that you can engage with both if you want to create something special (and you should). Never strive
I mentioned in Part 1 that you have read the play and enjoyed it, met the characters and yes, you would like to direct it. You’ve started to think about the design of the production and you’re inspired! Before you
This series is not the definitive ‘How to Direct a Play’ guide – I wouldn’t presume to be anywhere close to that (not even sure what it might look like). This is how I direct a show and I daresay
You remember the days when you used to play ‘make-believe’? Ok, some of us don’t actually stop doing that, but I’m talking about a time when you could be immersed in a game and it became almost real for you.