Five Questions All Community Theatre Directors Should Ask Themselves

Salina Community Theatre

Community theatre is magical. A bunch of folks with the same passion coming together to share their talents for no pay is a true labor of love. It brings culture into areas that otherwise may not have the means to experience live performance. If you are lucky enough to have earned the role of director, you will find yourself with lots of responsibilities you probably didn’t realize you had. Even if you’ve directed a million times before, every production brings its own unique needs.

These five questions can help keep you honest and on track for many aspects of your upcoming production. 

Am I casting my friend because they truly are the best choice, or because I don’t want to say no to them?

There is nothing wrong with casting people you know if they really are the best choice for your production. In small communities, the “theatre kids” typically all at least know of each other, but chances are the majority are friends. Lots of great works have come from buddies working together. The trick to doing this right is by keeping your nostalgia in check and asking what it is that drives your decision. I’m sure Suzie was phenomenal 10 years ago when you did Grease together, but does that mean she is the best option for your upcoming production?

We don’t like to admit our decisions might be biased, but dissecting these feelings will result in a more level-headed process. This is hard to admit to yourself, but you need to figure out if you’re dreading a friend’s disappointment or if you truly feel they will bring qualities to a role that no other auditioner could.  

Are my actors comfortable with what I’m asking for?

What is crazy about amateur theatre is that a bunch of people who work 40 hour weeks at their real job go to a rehearsal space every night and pour their souls out for nothing more than their own enjoyment. One of the best things about rehearsal is “leaving it at the door” and letting everything else melt away. When we become this present during the process, it is easy to forget that you are working with people who have bills, school, chores, families, and careers that all have nothing to do with your play. A great rule of thumb is not to ask your actors to do anything you yourself wouldn’t be comfortable doing on stage in front of your community. If you have a particularly intimate scene in your show, check in with your actors to see if there is anything that can make the experience more comfortable.

Ask the dancers in revealing outfits if they can move okay or have any concerns. Have these conversations in private and make sure that you the director initiates. Some of your actors may be too nervous to speak up, so please invite them too. This will add a whole extra layer of trust to your cast and crew. 

Am I more worried about being right or fixing an issue?

Disagreements are going to happen and I hate to tell you this, but just because you’re the director doesn’t mean you know everything. Trust your crew and let go of your dictatorship. Yes, this is your show, your baby, your vision, and what you say should be taken seriously. I do not disagree with that. That being said, your job is to create a cohesive piece of art so don’t waste time on figuring out whose fault something is or proving why you’re right. If you’re not afraid to admit when you make a mistake, your actors will feel more comfortable making choices as well. 

Does this decision benefit the show or my ego?

Yeah, it would be really cool to add some sparklers to those pirouettes during the dance break to wrap up Act I, but do the sparklers make your dancers perform below their best? Are they completely stressed out about the sparks being so close to their hair sprayed filled doo? Alright, this is a silly example, but it gets the point across.

Don’t add things that are going to weaken a performance even if they add some production value. Go back to the roots and remember what is important. It sounds really cool to say, “my production had full wires and flying with a live orchestra”, but if the next thing out of someone’s mouth when you leave is, “yeah but the actors obviously didn’t get a chance to have a sitzprobe or practice flying” who cares if your show had the bells and whistles? You pretty much created a low-quality expensive show.

How can I explain what I want in a way that all actors will understand?

Every director will tell you about that one actor who just never takes their notes, but they listen to someone else. Did you ever think the way you’re delivering your wishes isn’t being done in a way that your actors and crew members comprehend? We all learn a little differently, so try explaining the same thing in different ways to accommodate everyone. Think about what you need to accomplish at your next rehearsal and come up with multiple ways to express this before you get there. “You’re late for that cue again” can also be expressed as: “Remember your entrance is on George’s line…”, “How can we help you make this entrance on time?”, “I need you to take out your script and make a big note for yourself here. It is very important you enter on this cue”. 

If you have someone with special needs in your cast, give them extra supports. Remember that you want your actors to succeed. Saying the exact same thing louder and meaner isn’t going to get you anywhere. 

Break a leg!