Some tips for directors who are just starting out. Photo credit: A creative commons image by flickr user b▲sia

[While I’m on vacation, I’ve asked a few friends to keep www.stage-directions.com lively with some guest posts. Today’s post comes from Terrence R. Williams. Terrence R. Williams is an independent Las Vegas producer and director, originally from Atlanta, GA.  He has worked with such distinguished groups as Cirque du Soleil, Shear Madness, HBO, Farrington Productions, Time Warner, and Magician Steve Wyrick.  Terrence has directed the Las Vegas premieres of Assassins, The Last 5 Years and Tick, Tick... BOOM! among others.  He currently serves as the production manager for a well-known show on the Las Vegas Strip.]

As a director of over (gulp) 18 years, I’ve learned a lot along the journey. Perhaps what I’ve learned best is that only those who have directed will ever understand the real work of a director. Everyone seems to want my job – it must be so easy, right? Better yet, many of the folks who would gladly try their hand at directing are some of the least prepared actors I’ve ever worked with. I wish them all luck, of course, but advise that the job may not be as simple as your favorite director may make it look.

For those who are itching to try on that Director title, any number of pitfalls await. And, in case you hadn’t heard, actors who sense fear may just eat you alive! Here are a few of the things I’ve learned since being a newbie so many years ago:

Read. Maybe this isn’t obvious, but being a well-read director has made me much more articulate with my actors. I read plays and librettos, but also biographies and histories. Read anything you can get your hands on. When working on a recent production of Annie, I set aside almost a full 8 hour day to research the 200 or so period references in the show. Not only did I need to know who every single person referenced was (Beau Brummell, anyone?), but I realized in advance that my actors would likely never spend so much time doing research, so I handed my research over to them. Think of it as personalized dramaturgy.

Observe. My job includes becoming intimately familiar with the world I wish to create on stage, else my characters suffer from living in an artificial world that the audience cannot relate to. Everywhere I go, whether private or public, I pay a lot of attention. I watch people closely. I analyze their choices and behavior. What can I glean about them from their actions alone? Do their words and actions always match? What do they struggle with and how can you visibly see the struggle? The better your replication on the stage, the more your audience will be able to relate to the characters you present.

Prepare. If there were a cardinal sin for directors, this should be it. Some of the greatest compliments I have ever received are from actors who shared that I seemed to know exactly what I wanted, or that my rehearsal process was well-planned and efficient. That doesn’t happen by accident. Read the script, block the action, work the characters, the objectives, the subtext. Know what you want and convey that vision to your actors every single day.

Anticipate. Even after 18 years in the director’s chair, I still never see every question coming. However, I’ve been around long enough that I am usually able to anticipate many of the questions my actors will ask during rehearsal. As I work privately, I make a list of relevant questions that they may have as we move forward and then think about the best answers to those questions before rehearsal. A director who hems and haws, one who has to spend time trying to formulate an answer to every question from their actors, will appear weak. A strong director provides concise and direct answers – and is never eaten alive by his or her actors.

Listen. As much as people see my job as a figurehead – specifically someone who does a lot of talking – I would have to argue that my greatest work is in my listening. When working, I listen to the scene – does it ring false? At production meetings, I listen to my designers – am I heeding their advice? During notes sessions, I listen to the actors – am I instilling confidence in their work? During and after rehearsals, I listen to the stage manager – am I operating efficiently? Most importantly, be sure to listen to yourself – when you give notes, are you actually moving the production forward or just speaking to hear your own voice? Listening keeps you in touch and on track to success with your production team.

What would you tell someone tackling directing for the first time?