Speedbump #1 avoided

After discussing with Laura, the module co-ordinator, she’s suggested that for a one-night show like we’re proposing, licensing shouldn’t be an issue as it’s not a publicly performed piece, and will be open to staff and students and selected guests. So this is very encouraging that we’ve got the support of the department regardless.

We’re now getting ready for auditions which are happening over the next couple of days. I’ve had a look at the selected audition pieces, and have been amking notes on the more subtle areas of the text that I hope our actors will pick up on. For me, the important thing is connection to character and emotion. Understanding the different kinds of ‘anger’ will bring the play to life.

Speedbump #1

My first speedbump has arrived, and a little earlier than expected. Naively, I’d completely forgotten about needing a licence in order to perform a play, even for educational purposes. So I promptly contacted the publishers requesting one, only to discover the royalty fee is £93. This is an unusual side to directing, and one I’d not thought of before. Fortunately for me, as this is a university project I may gain some help regarding this; however, were I directing this professionally, I’ve no doubt that fee would be higher.

As a director, it is important to take into consideration the cost of putting on a show. Not only would there be licensing fees, but in the big wide world there’s venue hire, prop and costume should you need it, and (if you’re lucky to earn enough) paying for actors.

I’ve realised that I need to get my directing cap on pretty quickly – auditions are scheduled for next week, so it’s time to delve into the play again and uncover the characters for who they really are. This is the part I’m looking forward to – choosing the people who’ll fully embrace the names on the page.

Auditions are set for next week, and I’m already feeling nervous. But the important thing is confidence – once we’re in the room, I’m in control (with Abigail) and it’s our show that we’re creating. The actors are there to impress us, and we’re there to make them feel at ease. An uncomfortable company is never going to work well.

So, onwards – more notes to be taken, and time to develop something tangible.

First meeting, first glimpses

Having read through Act One of LBiA and made provisional notes, I was feeling rather overwhelmed. It suddenly dawned on me that in just three months, it’s show night and it’ll be my ideas and creativity exposed for all to see and judge. That, needless to say, is a very nerve-wracking realisation.

However, today was the first meeting with co-director Abigail Oscroft, discussing how we’re going to start this whole process. We work very differently as people; Abigail is incredibly creative almost instinctively, whereas I work best when in the room with actors, seeing how things work and don’t work when it’s right in front of me. That explains the panic when it was just me and the text – without tangible people saying the words, I can’t gauge the best way for them to be performed.

The meeting was incredibly productive, going over the audition process. For me, it is important that the people we choose cannot only act, but emotionally connect with the characters on the page. They must engage with the way in which these characters feel and live day to day, whilst each having their own and very specific way of expressing their ‘anger’. Establishing workshops and techniques for how our would-be actors will show this to us made me relax, realising that as soon as I’m inside that audition room, I’ll see my Alison, my Jimmy, my play.

Right from the get-go, this is a learning curve. I’ve never attempted anything like this before – it’s not just a means to a module, it’s producing a play for the public to see, something of a professional standard. A director isn’t just there to move the actors around a stage; a director is there to put across the playwrights’ words and move an audience. Challenge accepted.