How to be a Good Guest Director - the Etiquette
(c)2009
I've never seen anything on this - perhaps I've just missed it, so here's some advice:
As actors or stage crew, we have all had "directors from hell" and some really aren't good at their jobs either!
A Guest Director can cause problems and even hurt or destroy the quality of a production. They can even hurt a company. I picked up many of these observations years ago while working a couple of years as assistant to the producer for a guest company hosted by Actors Theatre of Louisville that had guest directors for their festival/showcase.
Over the years I have frequently been a guest director and often been asked to return to a company (even with raises!)in the South, in New England and in Canada - so here are some fundamental rules I follow:
The company expects you know what to do and how be diplomatic and amicable.
If you are just a "Guest"! Remember that and respect that!
The company was already there and in operation before you came. They have their own rules and flowchart of how things are done and in what sequence.
From the outset, find out (don't assume) the parameters of what is expected of you and where those boundaries are. Are you expected to just mount the play and leave after the first night? What are you not expected (or wanted) to do? If asked give guidance - but they have a president, producer or other head - therefore you don't ever appear to 'take over'.
Create a production calendar and distribute it. A workable timeline should be produced with input from the crew as to deadlines.
If possible, at the first reading assemble the crew and let everyone know your vision for the show and what you will anticipate it will look like. The departments will begin to mentally create and then all can gather with you and discuss possibilities and compare that with budget.
Rely that each person who represents a position can do their job and will step in when the appropriate time comes. Don't berate them. Also, if tech things need tweaking - find out first if it was already done.
At the outset give light, makeup and sound your general ideas. let them create and come to you in their normal time and create in their own way.
DO NOT EVER TRY TO BE THE TAIL WAGGING THE DOG!!! It is not your company! Stick to the directing as they define the job as guest. Leave the venue problems to them, lighting to whom, when and how they do it. Once you've given your vision leave the set building and any other aspects to the timelines and sequences to those responsible and to do it in the manner in which they normally work!
Let each person do their job in their own way without your interference.
Never demand, but make only requests. If there is a problem with something - offer affordable solutions. Let them make the choices.
Conform to the schedule and sequence of things to be done that the company uses.
Likewise, there is probably a format that the company uses - that includes welcomes to the audience by the president or artistic director, announcements from stage or by PA system, cast party, group thank you's to everyone at the cast party itself, poster & program signing etc.
Don't assume anything or any department is yours to use without asking.
Likewise, do not bring in any outside help to replace anyone, consultants or other personnel without first clearing it (Its is permissible too offer to add help to fill in gaps - but they are to aid those in the company - not do the jobs of those who are already there). If you have brought in some help -do not delegate any work, authority or other power to them without going completely through the company channels first! Stepping on the toes of those already in the company will diminish any incentive for cooperation.
In addition to working with the actors(your chief job - all the time), you supply the vision for the production. Submit a written list of all those items you think will be needed for the show: special props, special effects, unusual costume pieces, sound effect, set piece, - anything that might not be easily obtained or has to be built, purchased or sought after. Don't wait until four weeks out... then let the people on staff do their job.
If something you envision can't be don't due to budget, venue, unforeseen situations (sometimes just some bad luck) - think laterally and suggest a solution.
Be consistent. Don't keep changing your mind.
Especially these days, be realistic: work within the budget constraints of the company.
If you indicate you are going to handle a certain aspect of the show, see it through - don't drop the ball until someone else notices.
Don't drive the producer, company heads, or other staff crazy with your demands, personal compulsions, criticisms or personal timelines. Don't nag and continually repeat the obvious. This also diminishes any incentive for cooperation and respect for you!
Show respect for everyone's personal time! Don't waste any, be brief, run on time( start and stop on schedule!), do not disturb personal time, vacations or other private times. People have lives and problems too. Ignoring this is a quick way of losing respect from the whole team!
After a performance, save your notes and changes for everyone to the next day - not when they are tired and need to go home.
People talk! Continually asking the same questions of multiple people - when one has already answered you is a complete waste of their productive time. You will be found out!
Do not use any PR opportunity to promote yourself or your upcoming work. You are there to make the company look good. Always be about the company!
If a leading actor or department head requests a phone call or conference - do it! They should not wait weeks or be ignored. It's not about you - the production and company comes first!
Make sure you have your own email access and are easily available by phone most of the time day and evening. Return calls! If you are difficult to reach - you probably should not accept the job. An actor or department head should never have to make multiple requests to speak with you about the production.
DO: send out emails for informational sake.
If you send lots of memos and email that require written answers from company people - remember that takes productive time away from the project! Therefore: DO not send emails to get answers to your questions when a quick phone call will do. For most people: answering a few emails slows them in other aspects of their jobs: production of props, promotions, calls, copy writing and most all of their other work.
Don't Nag - People will ignore you!
Don't Whine - Not attractive even in a 2 year old!
Don't Bully - You'll get the opposite reaction!
When you talk to cast and crew: request - don't order them like a drill sergeant. A smile cannot cover it.
If you are feeling distanced from the staff, crew and cast - this is the problem.
Don't just keep pointing up problems without equally offering possible (and reasonable) solutions
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If the company has 'go-fers', treat them very well!
Pitch in on the physical labor. If it's a non-union production - it is not beneath you move items, clean something or to help strike the set.
If you can't be contacted or make contact easily (directly or indirectly) for 12 hrs a day - don't take the job!
You should provide your own transportation to sites - not depend on crew or management. That goes for making tea, coffee and getting your lunch
Don't tell your cast what behavior will make you "angry" or "mad". It shows an inflated ego that is fragile and discloses weakness. Especially in community theatre, it is not motivating - it is insulting... it's also a form of bullying! It is an immediate turn-off and this will immediately and permanently work against you.
Ask how things are usually done before you enact something. Can be addressed by asking who usually handles the job. Don't overstep bounds.
Be Flexible! You can do some Stage management
tasks, Props, prompting and other things when needed - (of course: exceptions with union situations!)
Though your contract (verbal or written) states you need to be there only though the opening - why not be there for the full run if at all possible?
Remember: Director may be a "D" word - but it does not mean dictator.
Show appreciation whenever possible.
Be real! Be a good example yourself. Be understanding. Be understanding. If an actor is having trouble with lines - find out the problem - mutually find the solution.
Each actor has her/his own system/method too. Respect that, discover it and work with it.
Treat all their actors and staff well - the company needs to be intact when you leave.
The company did not invite you in to headhunt the cast or their crew. That 'reputation ruiner' will spread like wildfire. You are given a trusted position - and when obvious - it amounts to looking like willful sabotage. The stigma of untrustworthiness can be permanent.
Do not hang out in the control booth, especially once the show opens! If you are needed - they'll ask.
Be available for interviews, promotions, public talks - any PR you are approached about doing. (Often it is the company's artistic director that handles the initial greeting with the reporter, gives an overview and then points the reporter/photographer toward the individuals and makes the introductions. Don't monopolize those interviews. Keep your interview brief and promote the show by talking up the actors, the company and the script. If it is a newspaper - prompt them to interview the actors.
THE NIGHT BEFORE OPENING: Don't keep them late. If you want the cast 'on' their lines, in character and having good timing - they need their sleep. A late rehearsal is not in order. If it is community theatre and your actors have day jobs - they still have to get up at the same time in the morning. Rehearse the scenes THEY feel they need. Keep it short and as all rehearsals should be: upbeat!
Be sure to have sent written 'Thank You' notes to everyone - and if at all possible at least some small token of appreciation.
Minimum of what’s expected: Responsibilities specific to this position will likely include:
Hold auditions and select the cast.
Schedule dates and times as needed by the Company.
Create a vision of the script and impart it to the crew cast and company
Give the Director of Sets specific set ideas early on.
Give the Director of Lighting/Sound specifics early on.
Give the Director of Costumes/Hair/Makeup your vision.
Obtain cast biographies and provide a Show Director's message for inclusion in show programs.
Direct the actors.
IN SUMMARY: Show compassion, understanding and respect. You are a "Guest"! Remember that!
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