PEOPLE: Director From Hell

[MileHighSM]

So I'm curious what folks may have to say about this particular thing.  We've all worked with a director at least once (I know I have) who just makes your life...challenging.  The current director I'm dealing with is a bit off their rocker.  My primary issue is their insistence on having props ready at the exact moment they want them.  Our prop staff is very small, and they are currently working on trying to get stuff done for 3 different shows.  So I will admit I have made a request more than once, and the director then tends to flip out when they don't get to a note as their priority list is different than the director's.  So yesterday during a rehearsal I was put in a position where I could simply take care of a note that the director had already asked for twice, or let the director continue yelling and having an actor frustrated.  So I chose to have my ASM take care of the note and we moved on.  I know it's never appropriate to take care of other departments notes, but it was something very simple that won't ruin anything else, etc.  I sent an e-mail separate from my rehearsal report to the production manager (who is also the prop designer) explaining what happened and offering to replace the prop (some fabric) we altered if it really is a serious problem. Anyone else ever had to deal with something like this?  

[Jessie_K]

To echo a sentiment from the style thread.  Yes, I have been faced with similar situations in the past. Each time is its own judgment call.  I try to weigh it based on the consequences.  Go with the lesser of two evils.

[spikesgirl]

We are a non-union house and we know that everything needs to be done by opening - it doesn't matter by whom.  if the director wants something and I'm free, I'll pull a rehearsal prop.  If the SM is busy and I'm not (say I'm working as AD or SD), I'll move a set piece, spike a piece of furniture.  We work closely with each other, so there's a fairly steady stream of communication and it's a do-or-die sense of camaraderie.  We try not to set boundries between departments, but work as one team. 

Charlie
 

[LCSM]

I think this whole situation becomes easier to work with the smaller your company is. I'd always leave a note or send an email, like you did, just to alert people of what you did, but this becomes more and more nececary the larger your theatre is. For example, at my high school I likely wouldn't bother with anything but by the time I reached a company that had a very clear division of departments that didn't work so closely with eachother I definately would.

[DeeCap]

Yes, I have dealt with that.
I worked at a summer stock where the prop department had 4 other shows to do and had to deal with crazy directors and set designers. My show was not at the top of their priority list.
If it was something that was easy to fix and/or find, I did it. I also let the department know what I was doing and if they had a problem with it they should tell me.
I didn't tell my director what I was doing. It was a fine line I was balancing. If I did the note wrong I didn't want the director to march in and yell at the props department for something they didn't do. Luckly this didn't happen and by tech the props department got up to speed.

[centaura]

A lot of it depends on the scale of company that you're working with, whether a union is involved, and how people's relationship's stand.  In my very first job out of college, I was an ASM at a union theatre.  There were very strict rules regarding what I could do verses what the IA hands took care of.  I slipped a few times, but the guys were fairly cool about it since it was small stuff and they knew I was new.  There was a situation where everyone was comfortable with a 'the show has highest priority' mentality, though I definitely couldn't constantly break the rules. 

As its been said, it all depends on a case by case scenario - I wouldn't get into the habit of thinking of it as okay, its only something to do in serious circumstances.  Even if everyone is getting along fine now, if you step outside of your department too many times, that can give you a bad rep as interfering - even if you're only doing it for the show's good.  Lets say you hemmed a frayed handkerchief - do you know for a fact that was the final prop?  That wasn't something that was borrowed, that they thought would be final, but it doesn't quite look right, so they are supposed to return it untouched?  If they're really busy, they might forget to say that its not going to be the final prop after all.

This was just a hypothesis - there are times when you can use your own judgement as far as taking care of something, but really, I'd check with your prop department before you did anything - just to say, heh, I know you're behind, I'd like to help out, do you mind if I take care of this item for you?

-Centaura

[sarahbear42]

In my company, we always set a due date for rehearsal props, and one for final props, in addition to "last day to add/change." We only have a staff of 4 that handles all of the scenic and props and lighting needs for both our mainstage and our children's/touring groups, so they're almost always overloaded. Hence, the due dates. The SM and props head for the show will work together to get rehearsal props, and the SM's in charge of any on-the-fly rehearsal prop needs, but as we recieve "real" props, the director A) can't complain that we don't have the real so-and-so until the final prop due date, and B) can't change anything after "last day to add/change." We still have moments where the director will get frustrated, but since they're in the meeting when those dates are set and generally pick the dates themselves, it's harder for them to make life miserable for everyone else.