Today, I had a rehearsal with a fellow cohort member. I learned a lot, some of it I had to relearn: establishing clear goals and rehearsal process being the most important.
Basically, we took a couple poems and analyzed them. Then from our analysis, we began trying to find movement and structure that helped create a story. I’ve never worked with devised work before. Honestly, I can’t tell whether I’m hungry or nervous, but I definitely feel a bit out of my element.
I want to keep doing this so I can figure it out. One of the poems led us to a really interesting version of the story; something organic, collaborative, all those words.
And we spent forty minutes deciding whether a line in a song was sexist, brought to our attention by one of the men. Two men (the defendant) fought against changing it, the woman, the director, tried to find the compromise. For context, the play takes place in the 70s, and the line is about choosing someone for a job:
“He must be a guy”
To which the plaintiff said, “were there no female directors at the time? None? Really?”
The defendants said, “None. It just didn’t exist, that’s how it was.”
One of the writers said, “No one watches fucking Legally Blonde: The Musical and complains that the first song is, Oh my God, oh my God you guys! I mean, no one stops the opening number and says, ‘hey that’s wrong! There’s no guys! There’s not a penis up there!’ So, let’s not get stuck in this rabbit hole.”
Aside from the terrible comprehension of gender versus genitals-- First of all, that musical is ancient relative to all the work produced between then and now. Second of all, why is it that relevant? This is not Legally Blonde. This is a musical with four white people leading it, one woman in the room, mostly men on stage. And how dare you compare yourself to the iconic beacon of light and pink that is Legally Blonde.
I guess my biggest question is: If we, as a modern people, have the ability to recognize misogyny and have the ability and know-how and power to change it, why don’t we?
“That’s how it was.”
Well fuck how it was, this is now. You have the ability to turn this story on its fucking head. Why don’t you do it? Why?
Want to know the kicker? The director doesn’t want to cast performers of color in the titular roles because, “let’s not mess with history.”
This post won’t be as funny, not feeling very funny today for some reason.
Anyway, it’s been my first week back in the office. Most of my tasks have been administrative, though I’ve helped out with:
Public Works: engaging with the community, literally breaking bread with community members. I got to meet a bunch of students from Seattle City Center! Hoping to recruit them for future projects.
Networking: I met up with our Director of Casting and Producer of The Other Season, which was super informative. As I meet with people, specifically the artistic staff, I’m starting to put together more and more of how the artistic department has transformed over the years. I’m also getting so much indirect help kind of deciding my trajectory in my career? This is still to be discussed.
I also met up with the Public Works associate! (I would write more about this but, maybe that’s a different time.)
Also, I will be completely honest, it is Monday, November 4th now. I’m writing this in the futureeee.
Want to know what I’ve been working on? I’ve found 5000 scripts in our drive that are unsorted, and a lot of them even unnamed or without a title page. So.. party time, ladies.
Some of the interns and I put up a staged reading of an original, unproduced work! In two hours, we read it and blocked half of it. Put it up the next day.
It wasn’t perfect! It had good bones, but needed more work. It felt good for all of us to jump out of work bodies and do something creative and fun. It’s been a minute since I got to direct.
One of my best friends came to visit Seattle, we got to hang out! And by hang out, I mean drink very expensive cocktails and eat very inexpensive fast food (Dick’s is clutch).
I opened my very first show at Seattle Rep! Wowowowow.
This time last year I was sitting in my brother’s living room wondering if I’d ever get to do theater again, and now here I am. At this huge theater getting paid to do theater! You never know how far along you are.
Also, mom/boss/advisor-lady gave me a bunch of my favorite cookies (THE cookie) and I received a bunch of really nice cards! Everyone’s so nice here.
Anyway, this week’s question has only come to me recently.
What is the Assistant Director’s responsibility after the show opens?
Again, I would say this really depends on the director and company. For the rep specifically, I’d say the AD’s responsibilities are gone after the show opens. However, I did offer to run lines with the actors outside of performance times as well as come in and check on the show dependent on my director’s schedule.
The SM is supposed to uphold the artistic integrity of the show. The AD can do that too, maybe? I don’t know, or I’m not sure, to be honest.
What are your responsibilities right now as the directing/literary intern?
Right now my biggest responsibility is creating a New Play Festival list and a report on trends in the theater community right now.
I’m procrastinating on the latter assignment right now. That’s why I’m here. On Tumblr. Talking about my life.
What are some questions you have? What do you want to know more about?
I am DYING to know how a literary office works. I have a taste of it, but I really want to know the innerworkings of scouting plays, play reports, what we, as a major company, are looking for in plays. I can’t help feeling people can see things that I’m unable to pinpoint.
Anyway, today is October 20, 2019. A moment in time.
Tech continues this week! I’m nervous! We also begin previews on Friday. I feel like it is all going so quickly.
I’ve been assistant director before, but never for a huge gigantic enormous LORT theater before. So, there’s that. I’m learning a lot about what is expected of me as an AD and as the directing/literary intern; however I can’t help but feel there’s so much I still don’t know.
Almost makes me want to go back to school. Almost.
My questions for this week are rather broad:
What is expected of the Assistant Director in tech and in previews up until opening?
So, the answer to this question is pretty dependent on the director and the company.
Example: I have worked with directors who gave me dramaturgical work, script supervision, and note taking. I have also worked with directors who gave me scenes to direct and opportunities to work with actors. As a director/playwright combo bowl, I’m happy with both situations.
In my current situation, my responsibilities are a little of both. I mainly supervise script updates, though our Stage Manager handles a lot of it. In this experience, I found I had to assert my presence at times to be acknowledged. If I’m honest, not my favorite thing. But, I’m also lucky to have a director who will lean over and ask my opinion; he kind of opened the floor for me to offer my opinion.
What is expected of an Artistic Director in the show they’re directing? In tandem with all the other processes needing guidance at the company?
Why did I ask this question? It’s a hard question.
First, I think the Artistic Director is instrumental in setting a standard for the company. In the show they choose for the season and to direct, they must set demonstrate a certain quality, right? There must be pressure to create an amazing show, and yet there must also be the freedom to say, “it’s my fucking company, girl!”
At this point in time, what are some things you wish you knew more about? What do you want to learn?
I’ve been thinking a lot this week about what I wasn’t really taught adequately in undergrad. After having a meeting with my director, I found myself a little out of touch or I felt a little.. dumb? Which isn’t.. great.
Anyway, I want to jumpstart my personal theater education. Things I’d like to learn more about are:
Dramaturgy
Play structure/form (effective/ineffective)
Influential directors/directing styles
Play history, play development
How a literary office works
Today is October 8th, 2019. You are in the greenroom. A moment in time.
So, this week, we’re in week four of our rehearsal process. The play is on its feet, we’re in the refining stages, ready to begin tech on Sunday.
The show I am assigned to, as an assistant director, is The Great Moment, an original work by Anna Ziegler (Photograph 51, The Minotaur). Luckily, we got to have Anna sit in on rehearsal and give notes. I’ll talk more about that later! But, here’re my questions for the week, mostly having to do with new play development.
(Mom, I’m combining last weeks question with this post).
What is the relationship between playwright and director? What are the rules of that dynamic?
In the process of putting new work on its feet, from what I’ve seen, the director-playwright relationship is constant communication. Mainly to confirm that the story is what the playwright intended/wrote. Or to make sure the story is still interesting/compelling/the best it can be.
If I could write rules for that dynamic, I think it’d be:
1. The playwright’s voice is insanely important; their tone and rhythm need to be distinct and unmuddied (is this a word?). The director elevates or brings to life the playwright’s words.
2. Respect the director’s process. New work presents a new story to be interpreted, and then conceptualized. It’ll take a moment before you achieve or actualize what’s in the director’s mind.
What’s the most effective process for producing new work (tablework, staging, refining, tech, etc)?
I’m a fan of organic rehearsals in general, as opposed to a preconceived vision of what it all “should be.” But I think it’s especially important for new work.
There are so many variables. The variables being the actors, the directors, the space, technical capabilities, and so much more. So many of those variables can change what reads well on the page. Sometimes they elevate the language, sometimes they bare all the imperfections. For new work that hasn’t been produced, an organic process based purely on impulse allows us to see what works and what doesn’t. What is fixable, and what needs to be rewritten/reblocked or just cut altogether.
In this process, it was fortunate that we had Anna in the room for tablework and refinement. One of my favorite days was a full flurry of rewrites and cuts. I’ll elaborate later.
How do the actors affect the development of the new work? How does everyone else play into it (AD, SM, ASM, etc)?
In this process especially, the actors and the director played a significant process in the development of the play. I can only speak from the process I was involved in. And it was really inspiring to see how the actors delved into character development and let the director and playwright know where they were feeling underdeveloped or confused.
Of course, to an extent, I think that too much interference could cause the original story to get lost. Luckily, that doesn’t seem to be the case here.
My answers for the week.
It is October 4th, 2019. I am 24 years old. A moment in time.
If you’re a fan of musical theatre, or have watched Les Miserablehbleh, you’ll get the reference. If, by chance, you hate musical theatre, I kindly urge you to rethink.
Anyway, onto introductions!
WHO AM I
My name is Reed! I am the Directing/Literary intern at Seattle Repertory Theater in Seattle.
WHAT IS THIS BLOG
My advisor/boss/mom, who will also read this blog, has encouraged me to start asking questions to encourage a more fulfilling educational experience. I started this blog to document my answers to those questions, as well as my time at The Rep. Maybe it’ll be nice to look at when my time is done! Maybe it’ll just make me cry! Maybe both!
WHAT YOU CAN EXPECT
A lot of existential dread. Just kidding.
Mostly answers to my weekly questions! As well as a lot of my musings on theater as an industry and artform, some tips or suggestions, rants/raves, pictures. Lots of pictures.
That’s all I got for now.
Today is Wednesday, October 2nd, 2019. I am 23 years old. A moment in time.
