Job Description: Director

PRE-PRODUCTION

• Once selected, meet with the Operations Manager and Production Manager to review production budget, general schedule and procedures and to obtain a set of keys to the ACT building.
• Read the script to begin developing a vision for the show and start determining a plan for bringing that vision to fruition in the performances.
• Determine how auditions will be conducted. Auditions may be open or closed at the Director’s discretion … by appointment or “cattle call.”
• At least one month prior to auditions, provide the ACT office with details on the cast of characters needed for the show as well as how and when auditions will be conducted so notice can be provided to ACT members and the public via newsletters, press releases, public service announcements, etc.
• Develop a skeleton schedule for rehearsals so Auditionees will have an idea of the amount of commitment required.
• Meet or talk informally with designers and crew chiefs so everyone can be prepared for the initial discussion about the show at a Pre-Audition Production Meeting.
• Be sensitive to offensive content. We don’t have a forbidden list of words or gestures, but in practice in the past we have tried to avoid potentially offensive content unless it serves an artistic purpose.

AUDITIONS

• All roles must be open and available to anyone interested in auditioning. Be sensitive to the manner in which you encourage people to audition in order to ward off any perception that being cast in the show is guaranteed.
• Give individuals auditioning for the show equal consideration. Maintain an open mind regarding the potential casting of all roles.
• Utilize production staff to conduct auditions so you can concentrate on the individuals auditioning and stay focused on casting of the show. The staff also will serve as a “buffer” between you and auditionees, stage mothers and fathers, etc.
• Inform individuals auditioning when and how notification of the casting will occur. It is at the Director’s discretion whether individuals not cast will be informed by telephone call or letter or both.
• Determine in advance who will be asked to provide input on the casting from among the production staff. As a director, you have final say, but it is important you work cooperatively with the Music Director, Choreographer, etc, in the decision-making process.
• After auditions end, discussions about casting the show should take place somewhere other than the Mishler so the theatre may be closed in a timely manner.
• Determine which casting or non-casting calls you wish to make personally and ask the stage managers or production manager to make the remaining calls.
• If you feel you are unable to cast certain roles once auditions have been held, determine in conjunction with your production staff what steps need to be taken to complete the casting.

REHEARSAL PERIOD

• Develop a rehearsal schedule that takes into consideration the volunteer nature of ACT and its participants. Ensure the schedule adequately provides for proper preparation of the production, but also remains cognizant that everyone involved, though committed to the show, has personal lives and commitments. Use their time fairly.
• Treat actors, staff and others involved with the production with consideration and respect. Maintain appropriate behavior and language with cast and crew members, especially when working with children and youth.
• Review the Stage Manager’s job description to understand their responsibilities. Discuss with them any additional duties which might be required.
• Conduct rehearsals in a consistent and timely manner, and allow time at the end of rehearsal to give notes. Don’t rehearse to the designated finishing time, then keep actors and staff late to discuss notes. Allow Stage Managers time during the note period to inform the actors of announcements and other items of importance.
• Allow the Stage Managers to take charge of the operational details of rehearsals – starting time, breaks, ending times, etc. -- so you can focus on the creative work.
• Remember that the process by which ACT mounts its production contains an educa-tional mission. Foster that whenever possible.
• Coordinate and cooperate with the costume designer and other staff members who may need actors for fittings, etc., during rehearsal times.
• Provide feedback to the actors that is both constructive and considerate. Directorial notes should be given by you only. While Stage Managers should provide actors with blocking and line corrections, etc., comments the Stage Managers have regarding character, motivation and creative issues should be discussed solely with you, allowing you to forward them to the actors at your discretion.

IN THE THEATRE

• Trust the Stage Manager’s ability to assume full responsibility for the production as it transitions from rehearsal hall to theatre.
• Focus on the overall impact of the production at this point and the melding of individual elements to fulfill the vision for the show.
• View rehearsals from various parts of the theatre to ensure sight lines, projection, etc. are properly maintained.
• Be aware that even though the rehearsal schedule intensifies during the load-in period, it is important to remain respectful of the private lives of those involved in the production. Do not overschedule actors and staff members.
• Keep in mind technical staff often must work before and after rehearsals, as well as through-out the final weekend before the show opens.
• Hold a technical rehearsal to allow the tech staff time that is dedicated to their needs and duties during performances.
• Be aware that ACT does not own the Mishler and everyone must abide by BCAF rules and regulations.
• Coordinate with the Stage Manager to ensure that cast and crew members clear the theatre in a reasonable time so nobody is forced to remain late to lock up.
• Stage the Curtain Call prior to the Student Preview of the production. Directors should not take Curtain Call with the actors.

PERFORMANCES

• Decide with your production team what the call times will be, as well as procedures for warm-ups, etc., then allow the Stage Manager to supervise and enforce them. Be aware the Stage Manager will clear the stage five minutes before the “half-hour” call so the House Manager can open the house in a timely manner.
• Discuss with the Operations Manager, House Manager and Sound Engineer when and how any pre-show announcements should occur.
• Be cognizant that actors and crew members have duties to perform to prepare for the start of the show and schedule any greenroom speeches or well-wishes accordingly.
• Be respective of the individual preparation processes of actors for performances and don’t intrude upon that process.
• Avoid going backstage during intermission so actors and crew members can prepare for the remainder of the show without interruption.
• Wait until after the performance to discuss any problems or notes for subsequent shows. If anything arises during the first act which needs to be addressed at intermission, discuss it with the Stage Manager and let him or her determine how to resolve the issue and who to involve.
• Remain unobtrusive during the performance so the audience can enjoy the show on its own merit. Avoid standing at the rail or pacing the walkway at the rear of the orchestra section. Avoid leading laughter and applause.
• Do not disturb sound, light and any other production personnel during the performance of their duties, even though they may be located at the rear of the theatre.