For those of you who don't know what that means: The Director is in creative charge of the big picture. She will make large and small decisions, including what pens go on the desk onstage, but she will not fuss over the pens and pencils we use in rehearsal. Or the coffee, or whether we need tea or milk or whether the signs are up or... She will, instead, focus on the talent and the creative. In auditions (we are starting them tonight), the Director's full attention aught to be on the actors coming in, on assessing their abilities and deciding whether they can play the parts on offer. It's the Producer who wants to worry about whether there is an audition secretary, whether there are signs, and who wants tea.
Preparation seems to be the key word for the day -- and will be, I think, for the rest of the production. I am pretty sure I can stay weeks ahead of deadlines as long as I am clear what they are - assuming I remember everything. Tall order being a lady of a certain age. Ha! So this is probably why I am fussing.
I was worried, I have to admit, that immersion in detail might affect my enjoyment of the process. Funny from someone who used to live for the detail. I was a professional stage manager for a very long time. Lists, lists, lists. Think, think, think. Safety, safety. For me, productions were like one huge puzzle of thousands of pieces. Each piece fit together or I made it fit together and, by the time we opened, the whole machine would work. And work well, for the most part. But, now, I worry that too much attention to detail might get in the way.
As a Director, I feel I need to keep my mind and heart open to express truthfully, listen simply, and respond honestly in the hope that we can, as a group, develop a piece that makes absolute sense, resonates emotionally, and tells the story extremely well. Now, don't get me wrong. I do my due diligence, my research, make my lists, know what I want, and read, read, read the text. It's all about the text. But, when I get into rehearsal, I am capable of throwing out the lot if we start moving down a new path that really works. That's fun for me. To discover. And, it looks like this process works judging from how folks tend to respond to the work.
So I wonder: will I be able to stay open while fussing over what time it is? We shall see. This production marks my first return to sorting detail in years. Years. I think I was staying away from the minutia on purpose, actually, in order to more fully become what I am now without falling back on behaviours that were comfortable or easy. Because making a list is dead easy. Honesty is hard.
So, onward with my new theatrical experiment. Perhaps I will find that handling the small details won't get in the way of the creation of the big picture. Who knows? But I will, definitely, find out.
And, oh shoot, I'd best print out that signage.
Jacqui Burke is a freelance director, writer, and theatrical teacher living in Toronto, Ontario, Canada. She is currently directing and producing Oleanna by David Mamet for a two week run at the Red Sandcastle Theatre, prepping and leading her Shakespeare is Boffo! theatre arts camps for active kids, directing Love Letters for Encore Entertainment, and directing Lend Me A Tenor for Scarborough Theatre Guild. She is, also, serializing The Pretender, her first novel, online at http://thepretender-amarcienoelnovel.blogspot.ca/.
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