Director. Playwright. Actor. Teacher. Theatre Maker.
Directing Philosophy
I always start with the text. I read and re-read and re-read a play. Each time a read it I write down what stands out to me. What are the key moments? How did it make me feel? Why did it make me feel that way? What are the themes I'm interested in exploring? Why do this play now? What about this play brings me joy? This last question is of utmost importance to me because theatre is a communal experience. I want to be able to share my passion and my joy with other artists and audience members.
After I have a grasp on what draws me to the play, I put the play aside for a while and I look for other works of art that remind me of the play. I listen to music, read poems, and look at paintings. I try and find other art that inspires me.
When I return to the play again I begin highlighting and underlining the key pieces of text. I look for the central themes, conflicts, and moments where characters cross through a new threshold.
Theatre is an incredibly collaborative art and I pride myself on being a conduit for collaboration. I work with the designers (and playwright if possible) on what they believe the play is about. It is imperative that we are all on the same page before we start rehearsal.
Casting can save or doom a production. I look for other collaborative minded artists. The work that I've done before rehearsal is the foundation, but we are building the world of the play together day in and day out in rehearsal. I try and remove my ego from this process. I do not need to have the best idea in the room, I just need to hear the best idea in the room. When I cast a play it is important to me that the cast is representative of my artistic and geographical community. This is more important to me than "historical accuracy." As a director, I strive to strike a delicate balance during the rehearsal process. I come to rehearsal organized and prepared, but also open to the offers in the room. If we are going to take risks, we must allow time for failure to occur during the rehearsal process.
The final part of the process is bringing the audience into the room. My hope is that I create a unique theatrical experience that stays with the audience. There is value in asking important social questions and there is value in sharing an entertaining comedy. But I cannot abide anyone being bored. I do not need everyone to like my work, but I hope that they are entertained and that they can sense the joy.
