To my astonishment, I was accepted into the Drama League’s Fall Directing program. Right away I began receiving emails from Roger & Emily informing me of Wonder week, Director Fest & the Director’s retreat. Upon first receiving my acceptance I was filled with excitement and apprehension- excited because I am about to take my career to another level and apprehensive, not of the program, but that I might not cut the mustard. Having received my acceptance somewhere in April and not starting until August, needless to say, this summer was one on the longest I have ever experienced.
It was August 15th and I met my fellow directing colleagues. We are all uniquely different yet very similar in our great thirst for directing. Right way we are introduced to all of the Drama League staff [Family] and we are provided with the Wonder Week schedule. Now I see why they call it Wonder Week – because it’s a wonder that we’ll be able to meet that many people in such a short amount of time. Over the course of the next 6 days we schlep our way all over Manhattan to meet some of the most important people in theatre in New York [And I might also add, were taken to some very nice restaurants by Drama League members and supporters]. We are not only introduced to major producers of both commercial and non profit theatre but also agents, costumers, casting directors, Artistic directors and the office of SSDC. By the end of this week it felt like I had been given THE KEY to the golden gate. At the same time it forced me to really begin to think [re-evaluate] not my skills as a director but my over all mission as an artist.
On one of the last days of wonder week there was a very open and honest discussion with several New York artistic directors. Each company [As well as the head strong, & highly opinionated AD’s] was very different and as they spoke I realized that they all shared a common thought -- Producing works that were important to them. This may sound like such a simple thought but very often I have found myself directing a play that didn’t speak to but was capable of playing bills for a few months. So often, we as artist, get caught up in allowing outside factors to dictate some of the artistic choices we make and sometimes forget that the plays we decide to invest our blood, sweat & tears in should be a reflection of the world we see as flittered through the very core of our souls.
After leaving this round table discussion, I walked away with not only a new perspective but a deeper respect of the craft we call directing. In deed, I can’t wait to see what is next. It is as if I am starving man in the middle of the desert and the only thing I need to survive, is to direct.
Wednesday, September 19, 2007
No One Told Me There'd be Dancing . . .
When I thought about how I would spend my fall as an assistant director, I was ready for errand running, making props lists, looking into the odd dramaturgical mystery, keeping track of blocking—standard fare for assistant directors. I didn't expect to be filling in for a missing actor through a choreography rehearsal! With only two semesters of dance in college (ten years ago) and a lifetime awareness of what a uniquely bad mover I am, I have avoided "dancing" situations like the plague. This past weekend, Jonathan Groff (Claude in the Public's staged concert of "Hair") had to miss rehearsal in order to perform in matinees for Spring Awakening. So, I got to be Claude. All things considered, I didn't make too big an ass of myself . . .
Working with director Diane Paulus (distinguished Drama Leage Alum) has been a dream. Diane has been very generous about including me in every phase of the process—from meetings at the Public with the artistic staff, to intimate show planning meetings with the choreographer and music director. In addition, I'm getting to know this show for the first time with its living creators in rehearsal. Jim Rado and Galt MacDermot have been an integral part of this process from the beginning. There's no better way to learn a show.
Back to this choreography thing—all an assistant dirctor really wants (at least this assistant director) is to feel like I've served some essential purpose in making the show a success. With Claude having to miss a couple of rehearsals, I have been able to do this. After walking (and dancing) Claude's track for initial staging sessions, I was asked to work with Jonathan one on one to teach him what we had sketched in the previous day. What a blast! When you're asked to do that, you really get to know the staging and also get a picture of what is essential story-telling. I was a happy assisant when we ran the large junks with the "real Claude" for the first time and they went off without a hitch (a testament to Jonathan Groff's extreme talent and professionalism!).
Dan Rigazzi
Working with director Diane Paulus (distinguished Drama Leage Alum) has been a dream. Diane has been very generous about including me in every phase of the process—from meetings at the Public with the artistic staff, to intimate show planning meetings with the choreographer and music director. In addition, I'm getting to know this show for the first time with its living creators in rehearsal. Jim Rado and Galt MacDermot have been an integral part of this process from the beginning. There's no better way to learn a show.
Back to this choreography thing—all an assistant dirctor really wants (at least this assistant director) is to feel like I've served some essential purpose in making the show a success. With Claude having to miss a couple of rehearsals, I have been able to do this. After walking (and dancing) Claude's track for initial staging sessions, I was asked to work with Jonathan one on one to teach him what we had sketched in the previous day. What a blast! When you're asked to do that, you really get to know the staging and also get a picture of what is essential story-telling. I was a happy assisant when we ran the large junks with the "real Claude" for the first time and they went off without a hitch (a testament to Jonathan Groff's extreme talent and professionalism!).
Dan Rigazzi
Friday, September 14, 2007
In the beginning
After being accepted into the program in the spring, Roger warned the overly-excited four of us: Now you have to wait for everything to crank up in the fall. BUT, it probably wasn't a week after being accepted that we began to receive our first assignments. . . The wait was over. Throughout the summer, more assignments trickled our way to prepare us for the beginning of the Fall Directors Project: begin the search for a one-act play for December's DirectorFest; begin work on UNCLE VANYA and prepare to direct an assigned scene for the retreat; think about where/whom/what you'd like to assist for 2 assistant director spots this fall; read an assigned Jacobean play and prepare a pitch to an imaginary theater company; etc.
Taken individually, the assignments seem like no big deal--taken all together, the cumulative effect was actually very powerful as it forced me to ask myself several questions simultaneously that I need to be asking more often. What will be most helpful to me right now in the field of directing? What am I curious about but have been underexposed to? Given permission to turn in anything of my choosing for DirectorFest, what kind of play do I want to direct? What's important to me in the choosing of this play? What kind of work do I want to assist on and observe (musical, maybe? classical? new play with the playwright in the room?)? How to approach Chekhov? How best to pitch a play?
With lots of work on these assignments tucked under out belts, we finally convened in mid-August to begin WonderWeek. It was a whirlwind of meetings and theater-going. I was impressed by the generosity of people--busy people--who took time to meet with us, listen to us--who we are, what our interests are--and give us insight into their jobs and their expertise in the world of NY theater. They peeled back the curtain a bit on the theater world and, to reiterate what Dan and Joanie have said, made it seem like there is room in the world for honest, hard-working, passionate directors. From a roundtable of artistic directors at prominent theaters in town, to meeting with an expert casting director who talked to us extensively about the audition process, WonderWeek was about gathering information which in turn built our confidence as we moved into the beginning of the fellowship.
Next up: the retreat at a farm in the Berkshires. I didn't know what to expect with the retreat: taking a van to parts unknown to live and work with strangers. . . But even before leaving the farm, I was aware that this retreat will remain a defining moment for me in my directing career. The memory of our collective site-specific VANYA scenes unfolding across that estate, and remembering the work and decision-making that we all brought to the table will serve as a reminder to me of what this work can be at its best: it was rigorous, challenging, and just plain fun. The actors were fantastic--working with them was inspiring on so many levels. I'm a better director having worked with them.
Also, taking us out of the city to focus on directing was one of the best gifts the Drama League could have given. With no cell phones or e-mail and without the demands of daily life, it was amazing how much brain-space I felt opening up (which was good since I was essentially working on 4 different plays in the 4 days we were there). I can't remember the last time I was unplugged for so long. I loved it. Besides being unplugged, we also had open fresh air, amazing views, and an incredible chef cooking food fresh from the garden. A great reminder to me that taking time to savor the soul-feeding things in life is conducive to creativity. I know this already, but it's easy to forget when pounding the pavement in NYC. Being reminded to slow down and focus was an important part of the retreat for me.
Another perk of the trip was getting to know the other 3 directors in the fellowship a lot better. We downloaded about the long days of activities--what struck us about the day, what we are learning, what's shifting, what we are questioning. I realized how rare it is for directors to have that opportunity--to experience similar theatrical events and be able to talk about them. A simple thing, really, but often directors fly solo. At the retreat, there were 3 others living the experience with me and talking about it. It was refreshing.
After the retreat, we each headed in different directions. I am in NYC where I joined the rehearsal process for the NY premiere of Horton Foote's DIVIDING THE ESTATE which was already underway. I'm assisting the director Michael Wilson. . . .More on DTE later!
Gaye Taylor Upchurch
Taken individually, the assignments seem like no big deal--taken all together, the cumulative effect was actually very powerful as it forced me to ask myself several questions simultaneously that I need to be asking more often. What will be most helpful to me right now in the field of directing? What am I curious about but have been underexposed to? Given permission to turn in anything of my choosing for DirectorFest, what kind of play do I want to direct? What's important to me in the choosing of this play? What kind of work do I want to assist on and observe (musical, maybe? classical? new play with the playwright in the room?)? How to approach Chekhov? How best to pitch a play?
With lots of work on these assignments tucked under out belts, we finally convened in mid-August to begin WonderWeek. It was a whirlwind of meetings and theater-going. I was impressed by the generosity of people--busy people--who took time to meet with us, listen to us--who we are, what our interests are--and give us insight into their jobs and their expertise in the world of NY theater. They peeled back the curtain a bit on the theater world and, to reiterate what Dan and Joanie have said, made it seem like there is room in the world for honest, hard-working, passionate directors. From a roundtable of artistic directors at prominent theaters in town, to meeting with an expert casting director who talked to us extensively about the audition process, WonderWeek was about gathering information which in turn built our confidence as we moved into the beginning of the fellowship.
Next up: the retreat at a farm in the Berkshires. I didn't know what to expect with the retreat: taking a van to parts unknown to live and work with strangers. . . But even before leaving the farm, I was aware that this retreat will remain a defining moment for me in my directing career. The memory of our collective site-specific VANYA scenes unfolding across that estate, and remembering the work and decision-making that we all brought to the table will serve as a reminder to me of what this work can be at its best: it was rigorous, challenging, and just plain fun. The actors were fantastic--working with them was inspiring on so many levels. I'm a better director having worked with them.
Also, taking us out of the city to focus on directing was one of the best gifts the Drama League could have given. With no cell phones or e-mail and without the demands of daily life, it was amazing how much brain-space I felt opening up (which was good since I was essentially working on 4 different plays in the 4 days we were there). I can't remember the last time I was unplugged for so long. I loved it. Besides being unplugged, we also had open fresh air, amazing views, and an incredible chef cooking food fresh from the garden. A great reminder to me that taking time to savor the soul-feeding things in life is conducive to creativity. I know this already, but it's easy to forget when pounding the pavement in NYC. Being reminded to slow down and focus was an important part of the retreat for me.
Another perk of the trip was getting to know the other 3 directors in the fellowship a lot better. We downloaded about the long days of activities--what struck us about the day, what we are learning, what's shifting, what we are questioning. I realized how rare it is for directors to have that opportunity--to experience similar theatrical events and be able to talk about them. A simple thing, really, but often directors fly solo. At the retreat, there were 3 others living the experience with me and talking about it. It was refreshing.
After the retreat, we each headed in different directions. I am in NYC where I joined the rehearsal process for the NY premiere of Horton Foote's DIVIDING THE ESTATE which was already underway. I'm assisting the director Michael Wilson. . . .More on DTE later!
Gaye Taylor Upchurch
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