I had a nice coffee with a nice, smart young director last week. He, like so many of us, wondered what he should be doing next, how to get to that next rung. Its a darn good question.
We had a good discussion. in short, I know he's doing everything he could be doing: he's creating his own work, he is working with writers he likes, he is assisting, he is connecting with theater companies.
So, what else is a young director to do? Or in other words, what's your job when you are not actually directing a play?
I think I'll spend some time delving into this, but here are the major points I'll be exploring.
Those Fellowships
There are few things out there for the director - there's LCTDL (lincoln center theater directors lab), Drama League, TCG/NEA, etc.
When I first got back into theater, I applied to LCTDL, and I'll explain why and what that did for me, as well as give some application advice.
Directing New Plays
Tim Sanford's advice: find your writer
or my gloss on that: "Find your writers"
Interviews
The interview you have today is not for the job tomorrow. It is for the job in a year, or two, or even five.
agents
You want an agent, and you feel like you need one. But what does an agent really do for a director?
I'll spend the next couple of posts diving into this stuff. And again, it's just my advice.
Thursday, June 12
As Soon As Impossible
AS SOON AS IMPOSSIBLE by Betty Shamieh.
With only two hours to rehearse, there is very little true direction that can be done. But I thought we accomplished a lot. I made subtle adjustments for our cast, who were terrific: Jamie Farr of MASH fame, Richard Masur of Risky Business fame, Brian J. Smith and Tala Ashe. Jamie is totally a sweet guy and read the older grandfather with a nice intelligence and sweetness. I was most impressed with the adjustment that Tala made from the mini-rehearsal to the performance. Yes! Richard had some nice suggestions that worked well - tiny changes of where and when (or not) to read stage directions. As Betty put it, it's great when an actor invests in an effort that way. It sets a good example for the cast as a whole.
I thought the audience responded favorably - and there were plenty of laughs and even a gasp or two. All in a days work.
It was the first time that the play had been read publicly so it was really exciting for Betty (back from Holland with chocolate in hand) and me.
Tomorrow there's a five minute excerpt to be performed.
With only two hours to rehearse, there is very little true direction that can be done. But I thought we accomplished a lot. I made subtle adjustments for our cast, who were terrific: Jamie Farr of MASH fame, Richard Masur of Risky Business fame, Brian J. Smith and Tala Ashe. Jamie is totally a sweet guy and read the older grandfather with a nice intelligence and sweetness. I was most impressed with the adjustment that Tala made from the mini-rehearsal to the performance. Yes! Richard had some nice suggestions that worked well - tiny changes of where and when (or not) to read stage directions. As Betty put it, it's great when an actor invests in an effort that way. It sets a good example for the cast as a whole.
I thought the audience responded favorably - and there were plenty of laughs and even a gasp or two. All in a days work.
It was the first time that the play had been read publicly so it was really exciting for Betty (back from Holland with chocolate in hand) and me.
Tomorrow there's a five minute excerpt to be performed.
Prod Mtg #2 - LIAMI
LIAMI = life in a marital institution
Getting our ducks in a row at Soho Playhouse. It's a bit of a bowling alley - but the acoustics are good. I sat in the back row and James could be heard very easily. Wondered if it had to do with the current set that we are rehearsing on top of.
Lucrecia and Michael have great ideas, I believe, that I think will unify the production elements. There's no sound beyond the Beck CD we play during the pre-show. Other than that, it's all James. The priority, lighting-wise, remains the same for me:
Let's light James's face, and make sure he can see the audience.
Set-wise, we are going to add some venetian blinds, which I think will help lift James out of a void, and will also create something of texture to light. Big news for all set designers: IKEA opens June 18th in red hook
Getting our ducks in a row at Soho Playhouse. It's a bit of a bowling alley - but the acoustics are good. I sat in the back row and James could be heard very easily. Wondered if it had to do with the current set that we are rehearsing on top of.
Lucrecia and Michael have great ideas, I believe, that I think will unify the production elements. There's no sound beyond the Beck CD we play during the pre-show. Other than that, it's all James. The priority, lighting-wise, remains the same for me:
Let's light James's face, and make sure he can see the audience.
Set-wise, we are going to add some venetian blinds, which I think will help lift James out of a void, and will also create something of texture to light. Big news for all set designers: IKEA opens June 18th in red hook
Tuesday, June 10
Braly at Soho Playhouse
We had our first rehearsal today at the Soho Playhouse.
After talking initially with James about what's going on, we began again. What impresses me the most is how ready James is for this run. The story itself will be largely unchanged from our earlier run at 59e59 - James feels fine about cutting the mini-introduction and just getting started with the show. I think that's smart.
But what to do with the rest of the time alotted for rehearsals? Seems like we really don't need to spend the time with me and James and Lauren the stage manager. We need an audience.
After talking initially with James about what's going on, we began again. What impresses me the most is how ready James is for this run. The story itself will be largely unchanged from our earlier run at 59e59 - James feels fine about cutting the mini-introduction and just getting started with the show. I think that's smart.
But what to do with the rest of the time alotted for rehearsals? Seems like we really don't need to spend the time with me and James and Lauren the stage manager. We need an audience.
Betty Shamieh's AS SOON AS IMPOSSIBLE
Cast is set for tomorrow's reading of Betty Shamieh's AS SOON AS IMPOSSIBLE.
it's part of Second Stage's New Works Festival featuring plays from the Time Warner Commissioning Program
The reading is at 3pm at Manhattan Theatre Club
Studio 2
311 W. 43rd
8th Floor
and features...
RAMSEY - Jamie Farr
DREW - Brian J. Smith
ARTHUR - Richard Masur
LEYLA - Tala Ashe
I am excited to work with Betty on this. I've worked with Richard Masur briefly on a reading (MEN OF TORTUGA), and I think it'll be a blast to work with Jamie. It's a quickie: 2 hours of rehearsal and then, wham: the presentation.
If interested, RSVP to Ryan Fogarty: rfogarty@2st.org
it's part of Second Stage's New Works Festival featuring plays from the Time Warner Commissioning Program
The reading is at 3pm at Manhattan Theatre Club
Studio 2
311 W. 43rd
8th Floor
and features...
RAMSEY - Jamie Farr
DREW - Brian J. Smith
ARTHUR - Richard Masur
LEYLA - Tala Ashe
I am excited to work with Betty on this. I've worked with Richard Masur briefly on a reading (MEN OF TORTUGA), and I think it'll be a blast to work with Jamie. It's a quickie: 2 hours of rehearsal and then, wham: the presentation.
If interested, RSVP to Ryan Fogarty: rfogarty@2st.org
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