The Director's Toolkit

Robin Schraft

• Publisher: Routledge
• Year: 2018
• ISBN:
  9781351380515
• Edition: 1
• Topic: Media & Performing Arts
• Subtopic: Performing Arts

The Director's Toolkit is a comprehensive guide to the role of the theatrical director.

Following the chronology of the directing process, the book discusses each stage in precise detail, considering the selection and analysis of the script, the audition process, casting, character development, rehearsals, how to self-evaluate a production and everything in between.

Drawing on the author's own experience in multiple production roles, the book highlights the relationship between the director, stage manager and designer, exploring how the director should be involved in all elements of the production process. Featuring a unique exploration of directing in special circumstances, the book includes chapters on directing nonrealistic plays, musicals, alternative theatre configurations, and directing in an educational environment.

The book includes detailed illustrations, step-by-step checklists, and opportunities for further exploration, offering a well-rounded foundation for aspiring directors.

PART I
The Script

CHAPTER 1
Script Selection

SCRIPT SELECTION PROCESS

Working with the right script is crucial for a successful directorial experience. There are times when the director is hired or selected to direct an already chosen script. In these cases, the director can simply proceed to the script analysis. The process becomes more complicated when the director must first choose the script. Finding the ideal script places great pressure on the director, who must consider a number of criteria. Among others, the director must determine whether the script fits the mechanical needs of the intended production. These mechanical needs may include style, length, size of cast, physical needs for the setting, costume, lights, sound effects, and the nature of the performance space. In addition, the director must think about the intended audience and his own connection to the script and the message he or she wishes to communicate with the audience.

There are situations where the play chosen must fit certain stylistic criteria. Stylistic considerations can range from whether the play should be a comedy or drama, to whether it needs to be realistic, needs to be a musical, or some other stylistic concern. These choices may become more specific based on the circumstances of the intended production. Specific stylistic considerations should be identified before the search for the play begins. If the choice of style is not an issue, it can be ignored as one of the initial search criteria.

The length of the play can be an important criterion. For a given production there may be a maximum or minimum running time. The director can save time by eliminating scripts that do not fall within those parameters. The projected length of the play can be determined in many ways. One way is to count the pages and allow one minute per page for the running time. However, this method fails to consider a number of factors: how many words per page, the size of the type, the size of the page, the action implied by the script, and the tempo. A more accurate way to estimate the length of the play is to read several typical pages from the script out loud at the speed in which they would probably be delivered by the actors. The full running time can be determined by timing this reading and dividing by the pages read, then multiplying this by the total pages in the script. It is also necessary to allow for required action that may involve significant amounts of time. For example, Shakespeare described fight scenes with the simple words “They fight.” Those two words could mean anything from a simple clash to a lengthy battle scene. Ultimately, the best indication of the length of the play is a reading of the full script out loud as is often done at the first rehearsal. This does not necessarily allow for the development of the tempo or comedic or dramatic pauses, but it does give a rough estimate of the probable length of the play.

While the one page per minute rule is a working start to estimate the length of a play, a better guideline is to read several pages of the script aloud as the lines would be delivered, divide the time by the number of pages read, and then multiply by the total pages in the script.

Directors often consider cutting a script to fit time requirements. Cutting a script without the consent of the playwright has both legal and ethical concerns. Plays in the public domain, such as the works of Shakespeare, do not have legal restrictions regarding cuts to the script, but doing so still raises ethical and artistic issues. The director should be extremely careful when cutting a play to meet specific time concerns.

The size and composition of the cast is another crucial area the director must consider. The number of characters in the play and their requirements must be compared to the size of the talent pool. If the talent pool is relatively small, casting a play with a large cast can be problematic. On the other hand, if the talent pool is extremely large and it is the director’s goal to maximize opportunity, a small cast show would be a poor choice. The balance between the need for men and women and their ethnic composition must also be weighed based on the talent pool. Finally, the director must think about any special considerations that must be made in the casting. For example, if two sets of identical twins are needed or if one of the roles requires a man well over 6 feet tall. Nontraditional casting is an option when considering gender, ethnic, or other requirements. These casting options will be discussed in Chapter 8. Casting for musicals increases the complexity because vocal ranges and, at times, the dancing ability of the actors must be taken into account. While not precasting the show, the director should contemplate whether the specific needs of the play can be met with the available talent that is projected to audition for the play.

The next consideration is the director’s take on the physical requirements of the script. This includes the required setting or settings, necessary props, specific costume requirements as well as necessary lighting, sound, and special effects. While solutions to these requirements are not essential during the play selection process, it is important that the director be aware of them to avoid choosing a play where solutions for physical needs may not be found. For example, a director contemplating directing A Few Good Men must keep in mind that a large number and variety of Marine and Navy uniforms are required for the production. The ability to obtain these costumes must be assured before the play is considered. Specific requirements for the setting, such as a play with multiple locations or at least the ability to provide to the audience the idea of moving to a new location, may become a production issue later and should therefore be addressed. It is a good idea to identify “deal breaker” items. These include any physical necessity without which the play cannot be produced. By identifying these necessities before selecting the play, the director can avert future problems. When in doubt, it is best to find a solution before the play is chosen rather than having to deal with the problem afterward.

A good rule of thumb is to identify “deal breaker” items. These include any physical necessity without which the play cannot be produced. By identifying these necessities before selecting the play, the director can avert future problems. When in doubt, it is best to find a solution before the play is chosen rather than afterward.

The director must also consider the nature of the performing space. It must be suitable for the basic nature of the play for the production to be successful. For example, a large complex musical with numerous scenic and costume requirements and a large cast will not be able to be presented to its fullest in a small intimate theatre. On the other hand, a small cast production that invites the closeness of the audience in experiencing the play will be lost in a large hall. Some plays may have particular needs that make performing in an arena or thrust extremely difficult. Other plays may be best performed in such a space. In producing a play with limited audience appeal, the play will best be served in a theatre with a smaller audience capacity. On the other hand, a popular play with the potential for a large audience will necessitate a comparably sized theatre. In productions funded through ticket sales, the size of the house becomes of particular importance to maximize the profit from the play.

While not always a key issue, the director should consider the nature of the intended audience in selecting the play. If the intended audience has no connection to the subject matter, then it will be hard to get the audience to accept and understand it. A highly conservative audience may find some subjects too difficult to handle. An older audience may have difficulty with younger issues while a younger audience may have difficulty with older issues. While the director need not pander to the audience, a wise director will consider them in making the selection.

The final criterion for play selection is more difficult to define. This criterion is based on the connection the director feels with the play. Directing a play the director feels deeply about is considerably easier and inevitably results in a better product. It is far more difficult, not to mention less fun, for a director to direct a play where there is no connection, or even worse, where the director disagrees with the message. There are no checklists for this criterion. If no connection is felt, the director probably should move on to another script. It is also important not to allow deep feelings for the play to cloud one’s judgment. A director can easily be seduced into choosing a play despite the fact the play poses insurmountable mechanical problems. Also, the director should be careful in making pejorative decisions regarding play selection. If the play has an all-female cast and deals with decidedly feminine issues, does this mean the director needs to be a woman? While the easy answer is yes, it really depends on the individual. If the director feels a connection to the story and its characters, then the director probably can work with the play regardless of gender. It is important to remember that many plays about women’s issues were written by men and vice versa. The same is certainly true for directors.

Choosing a play to produce can be one of the most difficult parts of the directorial process. It is essential that directors become avid readers of play scripts. It is better to have a list of possible plays in mind prior to beginning play selection than to have to start the search from scratch. Experienced directors often have a “to do” list of plays of various types and styles they would like to direct so they begin the search process with this list. Just as in the fairy tale where the princess must kiss a number of frogs before she finds her prince, the director must read many scripts before finding the one to direct.

Just as in the fairy tale where the princess must kiss a number of frogs before she finds her prince, the director must read many scripts before finding the one to direct.

It is a good idea for the director to develop a filing system in order to recall plays previously read. This list can either be kept on index cards or in a computer database. The director should note the specific aspects of the play. Such a filing system might include the following:

•Title of the play

•Name of the playwright

•Where the play can be found

•Cast size and requirements

•Length of the play in pages and in projected running time

•Style of the play

•Major technical requirements that must be addressed for the play to be produced

•The physical action of the play (brief plot summary) (See discussion in Chapter 2.)

•The dramatic action of the play (spine) (See discussion in Chapter 2.)

•Any other notes the director feels are important

The choice of the script is extremely important for the director as it has significant implications for the success of the future production. Sufficient time must be allowed to read and research a number of plays before making a final choice. Many beginning directors fall into the trap of setting high standards for both their artistic needs and the physical needs of the production only to find such an ideal play does not exist. At some point, it may become necessary to alter standards because ultimately a play must be chosen. The dilemma this compromise creates can be avoided, or at least mitigated, if the director allows sufficient time for the search process and reads plays that meet the production’s artistic and mechanical needs. Doing so significantly increases the possibility of finding a play that satisfies the director and works for the production.

Allowing sufficient time for the play selection process and reading plays that fit the artistic and mechanical needs of the production will significantly increase the possibility of finding a play the director likes and works for the production.

SOURCES FOR PLAY SCRIPTS

To read scripts one must be able to find them. There are many sources directors can use after exhausting their personal libraries. The libraries of theatre friends and associates are another possibility. Public or academic libraries typically have script sections. For student directors, many theatre departments mai...