CO-DIRECTING: A FOUR-COURSE MEAL w/ Anne McEvoy
In the weeks leading up to our first rehearsal, I had one major concern: how were two directors - one who had been working with the play for two years, and one (me) who’d only been involved since auditions over six months ago - ever going to co-direct a group of six extremely talented, creative, and smart actors in. World premier play?
I kept dropping my director’s hat and slipping on the one that said “actor,” wondering how I’D feel with two voices coming at me from the director’s table. What if Craig and I saw things differently? And would that be so bad?
Fortunately, Craig and I had a chance to sit down and talk a lot of this through. As Craig identified the four separate areas or categories he felt were the main ones for us to focus on, the process suddenly seemed much more doable and exciting.
First: all the administrative/housekeeping tasks such as coordinating the rehearsal schedule, providing rehearsal materials, and working with the producer to set up production meetings, costume fittings, etc.. Craig, as a unifying AD of SOTP and having a history of organizing such systems, undertook that mission solo.
Second: handling the once-a-week work sessions we used to create a common language around some acting techniques and tools, trying out the script on its feet, asking questions and making observations about the text, the characters, their relationships with each other, their back stories, and building a sense of ensemble.
Third: meeting with our team of creative designers to discuss set, costumes, lighting, sound, props, furniture, and set dressing. Again, we had an amazing team, and these sessions were also attended by our producer who coordinated everybody’s needs, budgets, schedules, and concerns. I was and still am in awe of every single one of them.
Fourth: the actual staging and rehearsing of the scenes until we were finally able to string the entire play together. Throughout the rehearsal weeks, our playwright was always welcome to attend and did so sparingly until we were finally running the play through, start to finish. Eric was always supportive and appreciative of the work that had been done. With an astute eye and ear for detail, he deftly made some helpful improvements and cuts to the text that all proved beneficial. Working with the playwright on a new or not so new play isn’t something a director gets to do very often and I’m still feeling a little spoiled by this experience.
So let’s return to my original concern about having one too many directors, sharing their vision and opinions. Time and time again I was surprised and thrilled to see how much Craig and I agreed on most notes. (I guess that’s what happens when your playwright creates a really good new script!) It didn’t hurt that our six cast members were extremely gracious and open to our suggestions, especially in instances where Craig and I were still exploring and trying different things in moments that were proving to be tricky. The cast did their share of offering solutions as well.
I will always look on this experience as being a truly educational and rich collaborative processes. In watching the show now with an audience, it’s hard to remember, whose idea was whose.. and that’s the beauty of it… the benefits of having created an Ensemble who listens, responds, and is there for one another night after night - keeping it real, keeping it engaging, keeping it whole.
