Directorial Philosophy

I subscribe to Mary Zimmerman's assertion that directing for the theatre is an archeological, rather than architectural, process. That is to say, it is a process of discovery of a pre-existing source (the text) rather than a construction of something from nothing. From my very first reading of a script to the final dress rehearsal, I am carefully digging and dusting away to expose the essence of the text. This is a delicate, detail-oriented process. If the collaborative team I'm guiding works hastily or carelessly, we may leave crucial parts still buried or knock off fragile corners and render an inaccurate representation of the text. We may highlight certain aspects of the story in our telling of it, but the text exists as our compass throughout our efforts to unearth a physical production we are compelled to share with our community.

The theatre is also a contemporary art form. Surely, theatre has been around for thousands of years, but each production is created for an audience contemporary to its time. Classic plays have themes that resonate across generational and cultural bounds; but for those plays to have a lasting impact as dramatic art rather than literary art, they need to be staged each time in a way that speaks to the status quo. I had the unique opportunity to attend a production of Antigone performed by the National Theatre of Greece in the traditional style of Sophocles’ time. While an interesting cultural experience, I had a difficult time associating with the story being told – surprising as I find Antigone to be the most accessible of the Greek plays. This had much to do with the fact that the modes of expression being used were contemporary to the Ancient Greeks and not myself.

I begin my process by reading the play first as an audience member. In these initial readings I start to flesh out my understanding of the essence of the play – answering the simple, yet crucial, question, “What is this about?” Then I go back to the text to begin analyzing how the play expresses its essence, the mechanics of it. It is in this stage that my experience and training as an actor and a playwright are extremely useful. Believing text to be the vehicle for dramatic action, during this analysis phase I begin to understand what underlying forces are causing the characters to say what they say and make the decisions they do. Additionally, one of my natural inclinations is an awareness of rhythm and tempo that is always tuned in as I read through the text. This initial period of reading and analysis takes place over several days, often weeks, giving myself time to process, muse, and discuss with colleagues and friends. This time is crucial and cannot be sacrificed. Harold Clurman put it best in saying that one must let the play work on one's self before one can work on the play.

As I move into the collaboration stage, first with designers and then with actors, it is imperative that my sense of the specific story we are telling is acutely clear. All elements must work together to tell the same story. The rehearsal process has three stages: building the tools (table work), doing the work (staging), supporting and polishing the work (tech). I spend considerable time at the table with the actors to discover and iron out what is happening through each beat of the play so that time exploring how to create those beats on our feet is not wasted. Table work is a collaborative process in which I serve as a guide. I try to help the actors discover facets of their character and tactics rather than teach or dictate, then it is their own. As we move to our feet, I approach my work in the rehearsal room as an audience member with a voice. I take what I see, not what I know, and provide feedback on the story being conveyed to ensure it is the story we are meaning to convey. Moving into the technical rehearsals, it is important that the story being told in the rehearsal room is enhanced and not obstructed, muddied, or bogged down by opening night.

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