At this year's Drama Desk Awards ceremony, best actress honoree Phylicia Rashad noted, "It is working with good directors that makes a good actor." Throughout the evening, performers acknowledged their directors—and directors thanked their casts—for helping them achieve both a successful production and a satisfying working relationship.
Like many relationships, however, collaborations between players and stagers don't always result in a match made in heaven. This is particularly true in the theatre, where the director has such an integral influence on the actor's performance. Miscommunication and misinterpretation may stall, sidetrack, or completely sabotage an otherwise promising endeavor. An actor's character choices may not work with a director's vision, or a director may neglect to take a cast member's opinion into consideration. The same holds true for interaction between singers and musical directors, and dancers and choreographers. These kinds of verbal disconnects need to be addressed early on in the rehearsal process, so that everyone is on the same page by opening night.
To further complicate matters, directors have the challenging task of trying to elicit a performance without having the option of actually showing the actor how to do it. Line readings are a no-no, and acting out movements or gestures for actors is generally frowned upon. How well the director can offer an interpretation, give constructive criticism, and help shape a performance depends on how creative and diplomatic he or she is.
Conversely, an actor needs to convey many things to the director without always having the benefit of discussion or explanation. Clearly defined motivations, emotional transitions, and indications of the final performance level need to be apparent early enough so that the director knows what to expect. Otherwise, the final product could turn out to be quite different than anticipated.
It is obvious that artists on both sides of the curtain line are faced with unique challenges and hurdles during the preparation for a stage production. That is why an open, two-way line of communication is crucial to a positive outcome. Through conversations with working New York professionals, Back Stage will try to pinpoint the techniques needed to bridge this communication gap between directors and actors.
Giving and Taking
Many directors take an acting class early in their development, so they can not only learn the basic terminology and theory behind performing but also find a way to relate to the actors they hope to guide to success. In the same way, actors may gain valuable insight into the directorial process by taking a directing class. It can definitely help them understand what the director's role is, allowing the performer to make the most of the creative collaboration and translate any feedback to further clarify, focus, and strengthen their skills.
An actor also should have a sense of the overall production, and his or her place in it. What good is an intense interpretation if it doesn't mesh with the rest of the ensemble's work, distracts from the main focus, or doesn't serve the primary goals of the piece? It is the director who will help the performer get to that place and fit into the greater scheme of things. He or she is there to guide you and your fellow performers toward becoming a unified whole with a common artistic goal. The bottom line is simple—performers must respect and trust their directors, and directors must respect and trust their performers.
There are many ways that directors and actors communicate with one another in preparation for a production. It actually starts with the casting notices, like those found in Back Stage. Often a director's input will be elicited for the breakdown descriptions to make sure the casting call attracts the appropriate range of talent. This is the first chance a director gets to share his or her view of the characters. If an actor submits for the show, it indicates to the creative team that said actor envisions fitting into the project. Many directors and casting directors have been surprised by an auditionee who may not have initially seemed right for a role, but who had such confidence and conviction that he or she ended up changing the staff's minds and winning the part.
During auditions, directors usually listen to the performer's monologue or reading, and then suggest an adjustment. This is done not only to sharpen an interpretation, but also to test the potential for working compatibility. Even if the notes seems illogical or extreme, an actor should not question the choice but just take the advice and go with it. It usually is the director's way of seeing if someone can take direction, and following along could secure the job for the actor.
Speaking of taking direction, a successful performance is by and large a combination of the actor's efforts and the influence of the director. The director serves as a mirror, a monitor, and a sounding board. The actor should be the conduit, taking the director's vision (along with the playwright's) and bringing it to life. This is why collaboration is so important, and why both sides need to be willing to experiment, listen, and compromise.
It is necessary during rehearsals for both the actors and the director to come to an understanding regarding the characters, the dialogue, and the themes of the play. Now is the time to deconstruct, analyze, explore, and ask questions. If you have an opinion or a concern, bring it up. Don't wait till opening night to share your revelation or reservation.
The director will give plenty of constructive criticism during this period, either verbally after rehearsals or typed out and posted the next day. With the Internet so readily available, it is now possible for directors to send their thoughts out via email. Who knows what the next step might be—text messaging notes to actors? (One could just imagine Momma Rose on a two-way device instructing her daughter to "Sing out, Louise!")
Both actors and directors need to take advantage of the time they get in rehearsals to reach mutual decisions and set everything. By the time tech week comes along, the director must shift his attention to the production elements, leaving the actors to fend for themselves. During dress rehearsals, the fearless leader will tweak and tighten, offer final thoughts, and then send his charges out into the fray. Once the show opens, the director will have very little to do with the show. It is up to the stage manager and the cast to maintain the levels that were set in rehearsal and strive for consistency during the remaining shows. The director's influence and inspiration must be strong enough to sustain the performers throughout the course of the run.
A Tale of Two Actors
From the performer's perspective, constant communication with the director is not only desired, it's essential. Two of today's hottest New York actors offer their opinions on the actor-director relationship.
Michael McKean, who's stepping into the heels of Harvey Fierstein as the leading lady of "Hairspray," has worked with directors in every medium. From his early days playing Lenny on "Laverne & Shirley" to his film work in "This Is Spinal Tap" and "A Mighty Wind," McKean has realized that each director offers something unique to his or her casts. "I think all directors have their own way of communicating to actors. I'm working with Jack O'Brien on 'Hairspray' right now. My wife had worked with him 20 years ago, and told me, 'This guy is the berries; he's the best one. This director speaks "actor." ' And that's exactly what I have found. Jack is a wonderfully communicative man—very intelligent, very imaginative. And he actually has a wonderful ego. He will give you some notes and say, 'Don't look at them now, look at them after the show—but they're brilliant.' And he's right! So I'm working with a dream come true of a director right now."
Whether the venue is stage, film, or television, McKean feels that knowledge of the acting process can help any director. "The main thing is that directors sometimes are more intent on putting things into the square. And I think the way to get something in the square that looks and feels real and right is to know something about acting. I have worked with directors who don't necessarily speak actor. I just think it's always kind of a basic thing to learn. That doesn't mean that all directors should be actors, or should know how to do it themselves, or be gifted in that area. It's an entirely different art."
McKean recommends an invaluable resource for performers and playmakers alike. "Harold Clurman wrote the best book about stage directing, in my opinion, titled 'On Directing.' He says that directors have to track every character through 10 years before and 10 years after the action of the play. That's how he suggests finding that window where we really believe and really look in and see the real world. It's a wonderful book." He also offers the following advice to his fellow actors: "There are all kinds of different directors, and you can have a lot of fun working with a lot of directors. But don't let your directors off the hook. If you're being told something that doesn't make sense, make them make it make sense, and then you'll be okay. If they can't, see what you can do about having them fired!"
Raúl Esparza, winner of the Drama Desk Award for best featured actor in a musical for his work in "Taboo" and currently winning raves in "The Normal Heart," believes that performers have to trust the director to be their eyes, so they can accurately gauge their performance from the audience's point of view. He also thinks actors need to be as intelligent as possible, and need to know as much about the show and the world of the character they're playing as they can.
According to Esparza, "The director's job is ultimately to create a space that you can inhabit. And the very best directors I've worked with—chief among them being Frank Galati—have been people who say very little, actually. They know what not to say. Christopher Ashley is like that. Graciela Daniele is like that. David Esbjornson, who I just worked with, is like that. It's not so much about encouraging an actor as it is about explaining that this is a direction to head in, or this is not a direction to head in. And that's about it.
"So what I want a director to be able to do is to create a space that I can live in, and pick the important moments in the show, and watch me as an actor, and push me to go further. Certainly David Esbjornson just did that for us in 'Normal Heart.' He pushed us further and further and harder and harder. But I don't have any particular memories of David giving us a treatise on the play. We didn't really sit there saying, 'Let's analyze "The Normal Heart." ' And I think there comes a point where you can talk too much."
Directorial Concepts
Back Stage asked some of the brightest directors on the theatrical scene to share their views about collaborating, creating, and communicating with actors. Here is the roster of respondents:
Adam Seelig is the founder and artistic director of One Little Goat Theatre Company. His latest project, "All Is Almost Still," was recently presented at the 78th Street Theatre Lab. Last season he directed three premieres of radio plays by Yehuda Amichai, Israel's pre-eminent modern poet.
Sarah Gurfield staged the musical "Slut" for PenneySeal Productions at the 2003 New York International Fringe Festival, and served as assistant director to Walter Bobbie for the Roundabout production of "Twentieth Century." Gurfield's currently represented by "The End of You" at the Lion Theatre through June 5, then will helm "Bat Boy: The Musical" at the Seacoast Repertory Theatre in Portsmouth, N.H., later this summer.
Paula Plessas is a dancer-choreographer who founded PPAR Dance with Ann Robideaux. Their recent credits include "Baggage Claim" at Theater for the New City and "I Forgot to Breathe" at Chashama Theatre. On June 20, she will present an outdoor performance called "SWEAT" at Hoboken Pier A.
Jason Hewitt has directed projects at the Blue Heron Arts Center and the Directors Company, and was assistant director for the national tour of "Oklahoma!" Hewitt will next be executive producer of "Masquerade" by Brian C. Petti, opening at the Studio at Cherry Lane Theatre in September.
Leah Vesonder's past directorial credits include "All Across the Green Lit Sea" and "Burping the Baby." She is currently assistant director for a production of "The Taming of the Shrew."
Style Council
Each director interviewed has a different style but shares similar sensibilities with the others. Most agree that the most important aspect of their job is bringing a strong vision to the project.
When working with actors, Seelig points out that it's helpful to give them the space they need to grow into a role. "I like them to work primarily on their own, with limited direction—not commands—from me. It is in this scenario that the 'communication gap' between us enhances the play, by keeping me from saying too much to the actor, and the actor from revealing too much to me. This gives the actors autonomy and shows them that I implicitly trust their interpretation, and as a result they feel that they can trust their instincts; you won't coax a good performance out of an actor who's constantly second-guessing himself or herself."
Gurfield says her directing style is actor-friendly. "In terms of a 'friend of the cast' style of directing, I have met some of my best friends by working with them in shows. On my current project, 'The End of You,' I have developed a fairly tight relationship with both of the principal actors; on such a small, intimate piece, you have to. We analyzed the script ad nauseum, but we also talked about our concerns about the business at large, what goes on in other areas of our lives besides theatre, and what we did over the weekend."
Usually performing in her group's works, Plessas has to change hats a lot between being a dancer and a choreographer. "I would consider myself a 'hands-on' choreographer. I often pop in and out of the picture to rearrange, edit, or improvise in a section—record it on video, watch and keep what works, and throw out what doesn't."
Hewitt is also very hands-on: "At least at the beginning, when we're trying to find the play. As the actors gradually grow into the roles, I'll pull back and let them work." Vesonder agrees, adding, "Like all directors, I pretty much like to be in charge of everything; at the same time, I like to let the actors make their own choices."
Casting Votes
As for the types of actors she prefers to work with, Gurfield finds that there are different advantages to various types of acting training: "Many actors today seem to study several techniques rather than focusing on one. This leads to great flexibility, which is very important to me as a director. It also usually means that actors bring several ideas and options to the table, which makes for a much more interesting collaboration than asking, 'What's my motivation?' "
Vesonder doesn't think that it's important what method the actor chooses to use as long as it gets him or her to a good performance. "I do, however, have a very strong prejudice in favor of 'smart' actors—actors who are willing to really examine the text and do character work."
Hewitt casts whoever is right for the part. "How they get there is their business—how it reads is yours. You want someone who is going to bring an abundance of ideas to rehearsals, and who is willing to take the journey the play demands."
The ideal candidates for Plessas' troupe must have strong and clean technique, be able to pick up material quickly, be comfortable with improvisation, and, most of all, have a unique stage presence. "We usually work with casts of different looks, heights, sizes, and talents. Most of our dancers are either artists or choreographers themselves, so they bring more depth and inspiration to our projects than just a cookie-cutter performer with impeccable technique."
Auditions and Callbacks
How do these directors get what they need from an actor in an audition or callback situation? Gurfield offers a preliminary audition—particularly when casting a musical—that is mostly about finding out if a person is appropriate for a part, in terms of the show's vocal demands, the type of character being cast, and how the actor fits in with other actors being considered for various roles. "I also enjoy the callback process, because it allows me time to work in more detail with each actor, find out how he or she understands and takes direction, and learn how open each person is to taking risks. The willingness to be open and play, without sacrificing the initial choices that resulted in the callback, is usually the most important thing I learn. I tend to work with actors in this situation by providing them with as much background information as possible, giving one or two adjustments as we go through the sides, and focusing in on a shorter exchange or speech to work on."
When actors approach an audition, Hewitt understands that what is mainly on their minds is how well they are going to do, and if they're going to be called back. "That's a restrictive place to be, creatively—lapsing in and out of positive and negative thoughts. They don't realize that you and the people on the other side of the table are praying for them to succeed—that the right person will have finally walked into the room. I approach any callback like it's the first rehearsal. You've got to encourage the creative freedom that will allow them to explore in front of you. Give succinct, unambiguous comments when you ask them to read a scene a second time—suggestions that can be clearly retained and implemented. When an actor sheds presuppositions, then they're going someplace."
To offset casting-call anxieties, Vesonder always tries to make the actor feel as comfortable as possible. "I feel no need to be arrogant or condescending during auditions. After that, the best thing to do is to give some direction and let the actor run with it. I know that it is hard for the actor to come in without knowing exactly what the director is looking for."
Rehearsal Hall
The rehearsal period provides directors with the chance to connect with the cast. But they must be careful not to step on an actor's toes by giving line readings or acting out a role. Gurfield has been on both sides of this situation. "Having been an actor, I know how infuriating (and, usually, ineffective) it is to be given a line reading. I really believe that each performer needs to find his or her own way to make sense of a line or piece of movement, otherwise the performance will never be more than superficial, and rarely replicable over the course of a run. If I feel that an actor is putting emphasis or import on a part of a line that I don't think is working, I generally ask the performer to make a different choice about what is important to the character in that moment. When the actor changes the character's desire or intention, the problem almost always takes care of itself."
Seelig states, "There are so many effective ways of communicating and articulating without giving line readings! And if you've reached your wit's end and the only way to get the idea across is by saying the line yourself, then do it with gross exaggeration—that way you've made the point without telling the actor exactly what to do and you're helping them find their own form of expression."
Favoring the Socratic method, Vesonder simply asks the actor questions until the actor comes to a solution himself. "This is also nice because often the actor has a different take on the part, and discussing it gives everyone more—and sometimes better—ideas."
Hewitt advises, "When you act, don't direct. When you direct, don't act. It's that simple. The actors were cast for who they naturally are—what their persona, their presence lends to the play—and their chemistry with the other actors. You want them attuned to what is naturally happening in an exchange with another character, where those aspects of themselves that make them right for the part are fully available. When something works, say so. If you're not getting anywhere with a particular moment, then you've got to help them out of their safety zone—to 'leave home,' so to speak. You may not find what you want right away, but the experience will be valuable to the breath of the inner life of the character."
Inherently, dancers do need to be shown their moves, but Plessas thinks it depends on what the choreographer-director wants. "In our rehearsals, we generally come in with set phrases to teach, in addition to a structured improvisation to generate new movement ideas. With the set phrases, there is no room for interpretation. We physically demonstrate the quality, speed, counts, and rhythm, and repeat it until it is in the dancers' bodies and up to performance level. On the other hand, in structured improvisations, we usually guide the dancers by narration. We oftentimes do journey work and lead them to a place where movement can evolve that hopefully best illustrates the theme or idea we are striving for."
All the Right Notes
It's traditional to give notes after each rehearsal, and most directors employ this time-tested practice. Gurfield, for one, finds that "a group notes session in person is always better than notes in writing or via an assistant; it allows the actors to all have the same understanding of what is expected to change the next time through, as well as allowing them to voice questions or concerns."
"Ann and I are note junkies," Plessas admits. "We give notes two ways: either right on the spot if we need something changed, or after rehearsal when watching video footage. We usually take more notes after watching the rehearsal tape and then come into the next rehearsal with changes. The funny component of this is the majority of the time they are choreographic notes to ourselves and not for the performers. When something is not working, we take the blame in structuring our idea without clarity, and we definitely communicate this to our performers."
Like countless other directors, Hewitt prefers the tried-and-true method of scribbling comments on a legal pad. "Scrawling things that you have trouble reading at the end of the day—that still works. After a run-through, I like to go over them and pick out those things that best represent the overall assessment of the rehearsal. Offer broad strokes. Give those at the end of the night, and then bring the finer adjustments to work the next day."
Constructive Criticism
The panel was asked what they give more frequently—harsh and honest feedback or constructive criticism? Gurfield doesn't believe that the two are mutually exclusive. "I am always honest in my feedback. During rehearsals for 'The End of You,' if the performers wanted to try a scene or monologue in a way that was different from what we had initially discussed or rehearsed, I always encouraged them to explore the new choice. But if, after watching it, I felt that the earlier version of the scene better served the play, I was always upfront about my decision and the reasoning behind it."
As for the others, Hewitt reminds that the actors have to feel as though they can make a particular choice and then rely on the director to tell them if it works. "Be direct and specific, and be ready to offer them ideas about how to make things happen onstage." Vesonder strives to give both honest feedback and constructive criticism. "I try to always say something positive about the performance first—there is almost always something positive to say—and then I talk about what is wrong and try to figure out the reason why with the actors." Plessas hopes that her troupe members interpret all comments as constructive criticism. "We are only harsh and honest with ourselves." And Seelig has cooked up his own recipe for offering feedback—the praise-criticism-praise sandwich. "That works well, but ultimately praise works best, praising the moments that work and which you'd like to see again."
Final Notes for Actors and Directors
Plessas: "Take out the ego, on both the performer's and choreographer's end. Though it seems elementary, the creative process is not about how big a part one has, but how a group works together to communicate an idea. Once politics are out of the way, things can run smoothly."
Vesonder: "You catch more flies with honey than with vinegar. It is trite but true. People in the theatre are often sensitive, and that sensitivity is their tool. That needs to be respected and acknowledged. You wouldn't break a carpenter's hammer, and you shouldn't trample on the feelings of actors."
Gurfield: "If actors don't understand a piece of direction, they should ask for further explanation. I think a part of the director's job is to convey his or her vision in a way that the actors understand, so that they can allow the vision to inform their performances. I am sure that the last thing any actor wants is to feel like a pawn in someone else's game! The flip side of that is to remember that we are all on the same side—the side of making the best theatre possible. Once you trust your director—and this is something that can take more than a positive audition experience or a great first read-through—be willing to take the risks that he or she asks of you. It is always better to take a big risk and fail with integrity (especially in the confines of the rehearsal room) than to make a safe, boring choice onstage."
Hewitt: "Trust one another. Don't pretend that you have all the answers, because you don't. Theatre is the ultimate collaborative art. It is the sharing and, at times, the competition of ideas that will make the show stronger."
Seelig: "When I see an actor do something I really like, I am careful not to define it. A simple 'what you did there is perfect' suffices. Of course, I'll be sure the actor remembers exactly what they did, and if they did (which they usually do), that is enough. It is usually unhelpful and intrusive to an actor's performance to describe it to them. Only the actor can describe it from within. When an actor is doing excellent work, talking 'about' their performance can muddle it—that is a case where actor and director should remain on their respective sides of the gap. Dear director, it takes great restraint, but when an actor is doing the right thing, don't meddle!"
"Don't let your directors off the hook. If you're being told something that doesn't make sense, make them make it make sense, and then you'll be okay. If they can't, see what you can do about having them fired!"
Michael McKean
actor
"We didn't really sit there saying, 'Let's analyze "The Normal Heart." ' I think there comes a point where you can talk too much."
Raúl Esparza
actor
"Like all directors, I pretty much like to be in charge of everything; at the same time, I like to let the actors make their own choices."
Leah Vesonder
director
"I enjoy the callback process, because it allows me time to work in more detail with each actor, find out how he or she understands and takes direction, and learn how open each person is to taking risks."
Sarah Gurfield
director
"If the only way to get the idea across is by saying the line yourself, then do it with gross exaggeration—that way you've made the point without telling the actor exactly what to do."
Adam Seelig
director
"The creative process is not about how big a part one has, but how a group works together to communicate an idea."
Paula Plessas
dancer-choreographer
"Be direct and specific [with criticism], and be ready to offer [actors] ideas about how to make things happen onstage."
Jason Hewitt
director