Huh? Why we should do Shakespeare.

I just went to a play reading of Twelfth Night last night in the hope that a local community theatre group might produce it in their season next. It went well. We laughed and we had fun. It's a funny play. Sits a bit on the page in Act 4 and 5 because the show becomes so much about physical comedy; so it wants to get on its feet but, other than that, a good night all around. Most folks in the room were behind the idea.

And there were a few that just thought we shouldn't do it at all. Why? It's too hard. Too hard to understand. I don't get it. I'm missing a lot....

Okay. Okay.

The language is archaic but a good dramaturge can work that script up nicely for a current audience unused to its rhythm and its turn of phrase. A good dramaturge can also streamline the piece to keep it at a nice length. Shakespeare will not be turning in his grave. He would, I am sure, be saying: "Give them what they want!" I imagine the guy to be more like me (this is a personal conceit) than like the purists who are worried about which folio they are working from and who want to preserve and reproduce every word. So we could do a version, with a bit of extra work, that our audience will love.

But it got me to thinking: why do Shakespeare if it takes all this work both for the company and for the audience. Why bother?

It could be because Shakespeare is the greatest playwright in the English language. But that's not why I do it. It could be because Shakespeare is the most oft quoted person in the English language after the folks who wrote the Christian bible. But that's not why I do it. It could be because we owe Shakespeare more of a debt language-wise than most people know. He added thousands of words to our daily vocabularies. But that's not why I do it. That's why we should respect him but not why we should produce him.

I do these plays because they are fun or moving or compelling. The stories are excellent; the devices simple and unreliant on fancy tech or gimmick. The characters are deeply memorable, inspiriing, or easy to hate. The language is vaulted, beautiful, and inspiring. These are real human stories told well and, four hundred years later, we relate to them. In short, I do these plays because they are entertaining. I do these plays because audiences love them.

And I think I can hear Shakespeare cheering because there's really no other reason to produce any play.


Jacqui Burke is a freelance director, writer, and theatrical teacher living in Toronto, Ontario, Canada.  She is currently directing the all female version of Taming of the Shrew for Jaybird Productions going up in the fall of this year and running her Shakespeare is Boffo!  -- theatre for active kids -- summer camps. She is, also, serializing The Pretender, her first novel, online at http://thepretender-amarcienoelnovel.blogspot.ca/.  


Jacqui Burke
talk/text: 647-292-0210
twitter: @jaybird01
skype: Jacquiburkecell, jacqui.burke
www.wordsnimages.com
www.jaybirdproductions.ca
www.shakespeareisboffo.ca
http://jacquiburke.blogspot.ca
http://thepretender-amarcienoelnovel.blogspot.ca/
http://jaybirdproductions.blogspot.ca/

Please make sure your headshot looks like you.

Okay, I see a lot of folks audition - just finished casting the All Female Taming of the Shrew, for example, and we had tons of great actresses out but we bumped into a problem; so, I decided to have a quiet word with you about your head shot, folks.

Please make sure your head shot looks like you.

A surprising number of folks brought in glam shots as head shots. Nice pictures, lots of make up, seductive poses, a little bit with the touching up here and there. Great pictures, truly. But we would look at them following the auditions, trying to decide who we were calling back or casting and the picture would not evoke the actor in my mind. Killer for an auditionee. After the second night of auditions, we even toyed with taking a picture of each actor as she came into the room, this happened so frequently.

Remember the reasons why we have head shots in the first place:

1. To help get a callback.
2. To help get cast.

How? By evoking the actor's performance. If your shot does not make me think of you, we both have a problem.

All right, all right. Some folks are getting work because these shots. And the cynical side of me understands why you have them. Also, I think they are great for television and film. But in theatre, use them judiciously. If you are coming in for a glam character and will present in audition made up and seductive, fine; bring in that glam shot. But if you are coming in for any other kind of role, consider having a second, clean, untouched up, smiling you to look at. A shot that looks just like you.

It will help me a lot.


Jacqui Burke is a freelance director, writer, and theatrical teacher living in Toronto, Ontario, Canada.  She is currently directing Lend Me A Tenor for Scarborough Theatre Guild, directing The Wild Life (a Kidsplay production), and prepping for the all female version of Taming of the Shrew for Jaybird Productions going up in the fall of this year. She is, also, serializing The Pretender, her first novel, online at http://thepretender-amarcienoelnovel.blogspot.ca/.  


Jacqui Burke
talk/text: 647-292-0210
twitter: @jaybird01
skype: Jacquiburkecell, jacqui.burke
www.wordsnimages.com
www.jaybirdproductions.ca
www.shakespeareisboffo.ca
http://jacquiburke.blogspot.ca
http://thepretender-amarcienoelnovel.blogspot.ca/
http://jaybirdproductions.blogspot.ca/

How To Make Sure You Stay Inspired As A Director

So much of creativity seems to come out of the ether, from nowhere, seemingly magically. For a Director, it's no different. The crazy, awesome ideas that come to you in the middle of the night or at the spur of the moment in rehearsal, these are golden. I, personally, feel so lucky when I am so inspired and have worried, in the past, about what I would do if the inspiration didn't come.

But, after having directed dozens of shows and been in rehearsal watching other directors work for dozens and dozens of shows, I have come to the conclusion that the best way to stay inspired is to keep working. Why? The inspiration will come. It will. What's the trick? You have to know it will.

Oh sure, you say. Thanks for the circular argument.

Fair enough. But the crazy is this is true. You are a talented, intelligent director. You've already had a few kicks at the can and done well. You know that, when you needed it, the inspiration came. When you had to solve a problem or were stuck with a flat scene, always something comes to you that helps solve problem or makes the scene more compelling.

In fact, if you are like most directors, the ideas come at a fast and furious pace. So much so, that many Directors have trouble sifting through the ideas to determine what works and what doesn't. Some directors are changing things right up the to last moment often to the detriment of the piece - but that is a topic for another post.

For this blog post, if you are worried about your inspiration, all I will say is rest assured. If you are doing your research, if you are reading your play, if you are working with actors, the inspiration will come.


Jacqui Burke is a freelance director, writer, and theatrical teacher living in Toronto, Ontario, Canada.  She is currently directing Lend Me A Tenor for Scarborough Theatre Guild, directing the All-Female Taming of the Shrew for Jaybird Productions, and prepping three Shakespeare is Boffo! summer camps for Jaybird and the Open Door. Also, she is serializing The Pretender, her first novel, online at http://thepretender-amarcienoelnovel.blogspot.ca/.  


Jacqui Burke
talk/text: 647-292-0210
twitter: @jaybird01
skype: Jacquiburkecell, jacqui.burke
www.wordsnimages.com
www.jaybirdproductions.ca
www.shakespeareisboffo.ca
http://jacquiburke.blogspot.ca
http://thepretender-amarcienoelnovel.blogspot.ca/
http://jaybirdproductions.blogspot.ca/

Your Privilege Is Showing

Don't lift that skirt any higher, darling.

I am directing a show called Lend Me A Tenor for Scarborough Theatre Guild. Arguably one of the funnier North America farces, Tenor was, however, written about twenty-five years ago and includes black face make up (a tenor dons his costume for Otello, the Opera). Black face is not, now, considered acceptable for any reason. A friend of mine, who is particularly interested in race issues -- and was even pre-warned -- left at intermission, he found the device so offensive.

As a person who is deeply aware that the current dominant gaze in our canon of theatre plays is white, straight, and masculine, I sympathize.

But I am a whore. I do every piece to its fullest. If the show is on, the show is on. Current methods of dealing with the black face include resolving to middle eastern (light brown make up/turban). This is something I won't do as it creates the same problem, in my mind and is a cop out, feeding on media driven fears in order to 'get away' with something. Nope, I just did it.

Having said this, I felt very bad - this is a good friend. No one wants to hurt anyone's feelings.

Now, I also went whole hog with the objectification of some of the women in the show. If I'm going to piss people off; I'm going to piss people off. Think whatever you like of me. Now, these women are sexy (assumiing the gaze is masculine and straight). It was interesting to me that no mention was made of how the women were presented. It was just assumed that the women would self-objectify to satisfy the dominant gaze and that's fine. Hey, wait....

Hmmmmm. Don't lift that skirt any higher, darling. Your privilege is showing.


Jacqui Burke is a freelance director, writer, and theatrical teacher living in Toronto, Ontario, Canada.  She is currently directing Lend Me A Tenor for Scarborough Theatre Guild, directing The Wild Life (a Kidsplay production), and prepping for the all female version of Taming of the Shrew for Jaybird Productions going up in the fall of this year. She is, also, serializing The Pretender, her first novel, online at http://thepretender-amarcienoelnovel.blogspot.ca/.  


Jacqui Burke
talk/text: 647-292-0210
twitter: @jaybird01
skype: Jacquiburkecell, jacqui.burke
www.wordsnimages.com
www.jaybirdproductions.ca
www.shakespeareisboffo.ca
http://jacquiburke.blogspot.ca
http://thepretender-amarcienoelnovel.blogspot.ca/
http://jaybirdproductions.blogspot.ca/

Sometimes Weight is Freedom

I usually don't like to weigh a show down with a cumbersome concept. I read the script over and over. The show will start to demand a certain physical reality to tell the story well. We embellish as much or as little as that show's reality requires.

Doing anything else can have the opposite of the intended effect. Concept plays were invented because the directors were moved to tell the story in a stronger way but, a lot of the time, director's concepts (metaphorically often strong and often very clever) actually compete with the piece for the audience's attention, thereby weakening both. Very rarely, an overlaid external concept breeds strength but, usually (sadly), external concepts forced on a piece are rather like placing a lightly frosted window between the audience and the play. It might be prettier but you can't see as well.

So, I worry. I have encumbered my upcoming production of Taming of the Shrew with the initial artistic decision that it will be played by all women. The rest of the process will have to accommodate that decision - from basic movement and vocal work, to blocking to costumes to....  Consequently, this play will be a little more challenging to get up than other productions. It'll be a little more difficult to get that story told well.

But I'm wondering: could this 'all-female' concept actually offer me some freedom?

For example, I have long been a proponent of blind casting but have been criticized and even ostracized for having the temerity to walk the walk on this issue. And, yet, if our default is always white and male, fairly soon the number of artists who can tell a lot of these stories will dwindle to a very small sampling of the overall population. Crazy. We need to find ways of opening stuff up.

And in this show I can. Why? If I've already blown the lid off of one pot, no one is really going to peek in the other. Honestly, if the person playing a male role is a woman, are people going to further question race? Why would they?

The construct is already sexless. We can make it raceless, too. Sometimes weight is freedom.


Jacqui Burke is a freelance director, writer, and theatrical teacher living in Toronto, Ontario, Canada.  She is currently directing Lend Me A Tenor for Scarborough Theatre Guild, directing The Wild Life (a Kidsplay production), and prepping for the all female version of Taming of the Shrew for Jaybird Productions going up in the fall of this year. She is, also, serializing The Pretender, her first novel, online at http://thepretender-amarcienoelnovel.blogspot.ca/.  


Jacqui Burke
talk/text: 647-292-0210
twitter: @jaybird01
skype: Jacquiburkecell, jacqui.burke
www.wordsnimages.com
www.jaybirdproductions.ca
www.shakespeareisboffo.ca
http://jacquiburke.blogspot.ca
http://thepretender-amarcienoelnovel.blogspot.ca/
http://jaybirdproductions.blogspot.ca/

How I like to work. And who I like to work with.

Actors are, by and large, my favourite people. They are funny, talented, energetic, and darn good looking besides. I was just thinking how lucky I am to have another great cast and it got me to thinking about what kinds of actors I like to work with the most.

So, what do I like about my current cast? They play. They don't come in thinking that rehearsal is a kind of performance for the director; they don't want little gold stars. They use rehearsal time to try things out and really play with the piece.

Now, I want to be plain, here. I am a deeply collaborative director. I've done some study on what makes projects work and what inspires folks and, consequently, I've spent the last four or five years figuring out how to work effectively in rehearsal while at the same time eschewing the current 'Victorian Family' model of theatre; so, so: Director as Father (unquestioned authority figure), Stage Manager as Mother (or strict nanny), Actors as Children. I don't buy this model because I feel it's too limiting and insulting for all involved. I like a looser and more creative environment in which there is a lot of co-operation.

For the sake of peace and equilibrium, I remain the ultimate decision-maker. So a bit of a tyrant, that way, but during the process, I really encourage people to own their own work, to bring ideas to the table, to really play.  Unless there are moments I am forced to craft (for example, I am currently doing a farce and at points timing is critical), I don't insist that they to do my blocking. I will have fallback blocking. I will have thought about it and worked it out, but I tend to let them move naturally through the space as we develop the piece. Not only is this ultimately more effective in producing an entertaining show, it's much more fun to rehearse because there's room for the happy accidents - those magical moments we discover together at rehearsal.

So, what do I look for in an actor? A bunch of qualities. But I can tell you that I am so thankful when I get a self-motivated cast who are willing to try anything, make fools of themselves, comment constructively, tell me what they like or don't like, and get off the darn book as soon as possible so we can really see what the play is about. Fun.


Jacqui Burke is a freelance director, writer, and theatrical teacher living in Toronto, Ontario, Canada.  She is currently directing Lend Me A Tenor for Scarborough Theatre Guild, directing The Wild Life (a Kidsplay production), and prepping for the all female version of Taming of the Shrew for Jaybird Productions going up in the fall of this year. She is, also, serializing The Pretender, her first novel, online at http://thepretender-amarcienoelnovel.blogspot.ca/.  


Jacqui Burke
talk/text: 647-292-0210
twitter: @jaybird01
skype: Jacquiburkecell, jacqui.burke
www.wordsnimages.com
www.jaybirdproductions.ca
www.shakespeareisboffo.ca
http://jacquiburke.blogspot.ca
http://thepretender-amarcienoelnovel.blogspot.ca/
http://jaybirdproductions.blogspot.ca/

Is it a theatre company or a theatre club....?

So, the artistic veracity of institutions ebbs and flows. For years, a company can be motivated by core values that put artistic quality first and, then slowly over time, can be more and, then, solely motivated by the social experience - more of a club. Either is fine. No judgement here. But, let's say the idea of artistic expression is paramount to you: a theatre club may not be your cup of tea. Or, let's say you're tired of busting your ass for thankless arteests and want to have some fun? Maybe a theatre club might be a better bet.

So, how can you tell? Is it a Company or is it a Club? Well, gosh. They often look and smell the same but really the core values of the two are completely different. Some ways to tell...

It could be a Club when....

1) They spend a lot of money on a nice clubhouse. (Don't confuse this with groups that have been gifted space.)
2) Casting decisions are based on friendship or who has done the most work for the group.
3) Artistic staff are hired based on friendship or who has done the most work for the group.
4) Every show is considered the best show ever. No criticism of the shows is allowed.
5) Artistic Staff tends to stay the same.
6) Significant resources go into parties or other social events.
7) Decisions are made with the comfort of the club members as primary.
8) The amount of resources thrown at a show is dependent on who is most popular.
9) Most of the members are in all of the shows.

It could be a Company when....

1) They have no or minimal resources going to permanent space, using space only when absolutely necessary.
2) In fact, all resource decisions are based in the needs if the show.
3) Casting decisions are based on who performs the role best in auditions.
4) A Company will hire pro directors whenever possible and only occassionally hire a (very) talented amateur.
5) Artistic Staff can be the same (especially if they're good) but there is always new blood coming and going.
6) Shows are internally critiqued and effort is put into getting better.
7) There may be a lot of going to the bar after rehearsals and shows but not a lot of social events, otherwise.
8) Membership grows with the needs of the show and members come and go.  But there is often a dedicated core membership.

So, if you are looking to join a group that is all fun, join a club. If you are looking to win some awards, join a company.  Don't go in and try to change everything; one person cannot change the culture in a group. Just go and find a group that suits you best. The end.

Jacqui Burke is a freelance director, writer, and theatrical teacher living in Toronto, Ontario, Canada.  She is currently directing Lend Me A Tenor for Scarborough Theatre Guild, directing The Wild Life (a Kidsplay production), and prepping for the all female version of Taming of the Shrew for Jaybird Productions going up in the fall of this year. She is, also, serializing The Pretender, her first novel, online at http://thepretender-amarcienoelnovel.blogspot.ca/.  


Jacqui Burke
talk/text: 647-292-0210
twitter: @jaybird01
skype: Jacquiburkecell, jacqui.burke
www.wordsnimages.com
www.jaybirdproductions.ca
www.shakespeareisboffo.ca
http://jacquiburke.blogspot.ca
http://thepretender-amarcienoelnovel.blogspot.ca/
http://jaybirdproductions.blogspot.ca/