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