We’ve put this document together to assist our theatre company participants with the steps necessary to become a director.

 

All of our directors must have taken a role as a Stage Manager and an Assistant Director before they will be allowed to direct a show.

We are looking for people that are team players, cheerleaders, positive and happy, friendly and outgoing, organized and have “vision.” It also helps if you care about the company and have participated in several shows before you take on a directing position.

 

The Director is the person responsible for getting the production to the stage. He/she must choose a production team that complements and supplements his/her personality. A strong production team is a necessity for a first-time director.  A new director should select people for roles they have done before so that they can offer solutions for what may have worked in the past.

 

The director and his/her team cast the show, rehearse the show and promote the show. The director must have a strong yet controlled ego. You cannot do it alone, but you must have “thick-skin” to deal with cast issues, the stress of production and the fact that you will have no personal life during the process. The ego comes in because directing a show is a thankless job. When you do a great job, the cast gets the applause, when you do a bad job, the attention is focused on you. But there are other benefits that come from directing a show. You learn the skills of leading a team towards a common goal, you raise your public collateral with this theatre company and others, and you have the satisfaction of completing a goal.

 

Also – it is imperative that you understand – you and your team are ultimately responsible for the show. Your managing producer is only there to support you, offer resources should you need them and to coach you through the process. Do not expect your producer to be focused on your production until you enter tech week. They have an entire season they are working on and your show is just one of many that they are responsible for over-seeing.

 

The bulk of the work a director puts in should happen before auditions are held. That means all blocking is planned, sets designed, rehearsal schedule created and so forth happens before the actors even know which role they have been given. The time spent up front is what makes directing easier during the rehearsal process. Instead of planning the night before, you can use that time to get your hair cut, relax with friends or to get caught up on your sleep. It also keeps you from having a meltdown at rehearsal. 

 

The motto of a director should be:

Stop. Slow down, breathe and think it through.

 

Below, you’ll find a description of the type of each theatre company and the pros and cons for directing with each of them.

 

Directing a CSP performance requires creative use of space. While the stage is adequate size for any show we select for that venue, it is an awkward shape. The directing challenges lie in creating a seamless production that does not stop (unless absolutely necessary) for scene changes.

 

A CSP show does involve a lot of tech and set elements. For a first-time director, it is best to select a Stage manager that has managed in the venue before. They will know the ins and outs of changing sets and storing for your production.

 

Most CSP shows also require a live orchestra or large dance numbers, so an experienced choreographer and music director is a necessity.

 

A CSP show should be quirky and constantly entertaining. We do not slow down for dramatic serious moments. All acting should be theme park style with the cast interacting with the audience as much as possible. All CSP shows are selected based on leaving the audience with a happy upbeat feeling as they leave the theater.

 

While all show budgets are tight, CSP has budgets that reflect its selling power.

 

Directing a DRT performance is much easier than a CSP or DWTC performance. The shows selected for DRT are smaller casts and typically don’t require any special sets other than furniture and props. Again size is the challenge here, since the stage is no larger than a living room in a typical house.   A DRT performance is a great starting place for a first-time director as it allows you to focus solely on the performers and not worry about a lot of tech or set elements.

 

DRT shows do not use full orchestras, nor are there very large or extended dance numbers. Ideally a DRT director also choreographs the musical numbers of the show.

 

DRT Budgets are typically smaller due to the size of the house. They usually don’t have a set budget but their costume and prop budgets tend to be larger than CSP.

 

For a first-time director, Dark Woods is the hardest company to start with. The shows chosen for the venue are special effects heavy and have large casts/crews.   It also is an outdoor venue which adds an additional layer of problems.

 

Cast morale is the most important area of focus for a DWTC performance. They dress in tents and are outside in the heat and weather for several hours per night. After a rain, the stage and dressing areas become mud pits and take a lot of effort to maneuver though.

 

The production team for DWTC is large as compared to DRT and just slightly larger when compared to CSP. The production team for DWTC includes a Director, sometimes a co-director, assistant director, stage manager, assistant stage manager, music director, choreographer, tech director, running director, house manager, house assistant, box office manager and several operations managers. These positions are necessary due to the large size of the area. There is also a safety over-seer assigned to each production.

 

Directors for DWTC are expected to be tech savvy and have grandiose staging ideas. Nothing is impossible and budgets are large for a DWTC show.