Director Gossip

[margaretheff]

I am working on a community theatre production of Bye Bye Birdie- it's great fun!  To try to make a long story short, here is my dilemma:

The show is half adults, half teenagers.  I am a teenager myself, and am friends with a few of the cast members.  One of the teens was talking to me about how she is frustrated with the director, and how our choreographer and music director are as well.  It is very obvious that people of all ages are having a hard time with his organization technique. 

Although I may not completely agree with the director myself, I have been staying a mutual party when people talk to me about it. 

Should I not give them an opinion, or try to "talk up" the director?


Thanks!

[On_Headset]

If you believe that the complaints represent a critical mass of discontent within the company which could damage, overwhelm, undermine or otherwise injure the show and the director's ability to remain in control, then you should report the situation to your director. Don't frame it in terms of "people think you're incompetent/a bad human being/a jerk", frame it in terms of "because of [tight scheduling/difficulty in communication/frequent changes/scheduling-related confusion/whatever the complaints are], people are coming under a lot of stress, and I think it's reached a point where you need to address this with the company".

If you believe that the complaints are less serious (these issues will work themselves out, people are just letting off steam rather than making serious complaints, people are coming under garden-variety show anxiety rather than anything special, the show isn't in any real danger, the director is firmly in control, etc.), then you should keep listening to the complaints and serving as a safety valve, but don't ring any alarm bells.

If you're unclear as to the nature of the complaints, then your best bet is to encourage people to speak to the director herself, which washes your hands of the situation. It's not really your job to mediate between the director and the choreographer, and unless you're positive that your involvement will make the process smoother and easier, it's best to disengage.

[G.Miciak]

I just have a few things to add to that. First it is important that you never appear to be participating in the complaining/ gossiping. I don't need to explain the 100 ways in which that would turn ugly. Also, I think it is important that you understand in what context you are being spoken to about these issues. If the cast and others are speaking to you as the SM, they are asking you to take action. If this is friend-to-friend, you may not need to take it up with the director. (You can also ask them directly if they would like you to bring it up with the director. Some people will be shy about asking you to speak on their behalf -- especially in community theatre.)

There also might be something you can do without directly broaching the subject with the director. Perhaps you could go over the schedule after every rehearsal and send it out yourself rather than the director doing it (or re-format the director's schedule and send it out again). I very rarely send out a director's schedule without making it easier to read and/or adding more information etc. If the schedule is always being changed, perhaps do a little more trouble-shooting before it is finalized -- anticipate where more or less time will be needed or where something might need to happen that the director didn't allow for.

[MatthewShiner]

What you a touching on is a historically a huge and difficult part of this job - the bridge between director and cast.

I have made a slight career about working with directors that casts sometimes don't "get", and I can offer some hints, but without knowing your own management style, you need to take this with a grain a salt.

1) Like Gil said, you need to know in what manner people are talking to you.  You need to ask them if they are just blowing off steam, or if they are asking you to take action.  Sometimes a cast just wants empathy.   

2) I think it's a mistake to "blindly" up-sell the director, but you should never through him under the bus.  If you are just blindly up-selling him, it sort of makes you look like you are a bit naive and blind to the real issues that is part of your job to deal with.

3) You need to have a frank and open discussion with the director about the issues, and like most things, try to separate the issues from the "Director" - like the cast is having some problems with feeling like their time is being wasted - not, "You, Mr. Director fellow, are wasting time."  Even if they are small issues, think of way to bring the small issues up in small ways.  Better to tell them about a couple of grumbles then blindside him with a huge problem.  If no one is talking to him about it, how can he fix his behavior??  I am sure the actors are going to him.  And remember, he is having to make 100's of little decisions - he may not know if the attitude he is getting is about his behavior, and not about a directing choice that actress disagrees with.

4) THEN, I try to offer a solution based on what I can do.  So, telling the director the cast is having some problems with feeling like there time is being wasted - is there anything I can do to help the director break down the rehearsal schedule into small blocks so that we are wasting so much time.  (In the end a happier cast is better cast . . . most of the time.)

5) If the cast and the director both see you trying to work towards a solution to the problem, you will find a) you are above the fray, but b) you are bringing the issue to the director's attention, coming up with a solution and NOT taking personal sides.  If you can make headway, then maybe getting a respected cast member to talk to the director may help.

6) If the director ends up being "Stubborn" and not willing to change, then, well, welcome to theatre.  It's not fair, it's not a democracy, and the director has an extremely difficult job . . . his style and organization may not please many people or any people, but it his method of working and it works for him, so . . . unfortunately that is the way it is.  I know that sucks, but this very issues I would say is why 30% of professional stage manager leave the business - not wanting to deal with the silliness of some directors.

Good luck.

(Completely aware I made this director a guy, I know not all directors are male)