Posted: 10/16/15 at 3:32pm
Once a show is frozen and formally opened, does the director have to be there every performance? If not, is there any requirement? What about the choreographer? I've always been curious, especially when it was a big name like Mike Nichols, George Wolfe, etc
Posted: 10/16/15 at 3:34pm
Posted: 10/16/15 at 3:36pm
neonlightsxo said: "No. After opening the director is done. How else would there be able to be multiple productions around the world?"
And for shows that have run for 5, 10, 20 years? They pop in once in a while, but no, they're not always there.
Updated On: 10/16/15 at 03:36 PM
Posted: 10/16/15 at 3:36pm
I figured as much but wasn't 100% sure. Thanks so much for your quick reply.
Posted: 10/16/15 at 3:46pm
neonlightsxo said: "No. After opening the director is done. How else would there be able to be multiple productions around the world? Joe Mantello and Jerry Mitchell (for example) don't have clones. Same for choreographers.
After opening, the associate directors and choreographers take over the day to day. "
Do you think a short run with an unstable star (ie Mike Tyson) might be an exception to the rule? I could see Spike being unable to cut and run. I'm sure there's other examples but I can't think off the top of my head. But on another note, since that was a short term engagement, it may have never been totally frozen and worked on an outline of talking points instead of a memorized script.
Posted: 10/16/15 at 3:55pm
The stage manager takes notes on everything that happens on stage. There are meetings after some performances to give the notes. Things that need more attention get to the director through the sm.
Posted: 10/16/15 at 4:06pm
With some shows I've seen, I question whether the director has even been at the rehearsals.
Jane2 is correct in that it's the stage manager's responsibility to keep the show in check.
Posted: 10/16/15 at 8:26pm
Obviously for reasons already pointed out directors cannot be at every single performance.
But someone like Harold Prince, treats the various productions of Phantom of the Opera as his daughters, he frequently pops in and give his show a once over all round the world. Just as well the man has made a fair living from it.
Same as Stephen Daldry he's especially keen to se his work done correct.
Posted: 10/16/15 at 8:36pm
I can state, without reservation, Mike Nichols does not attend every performence.
Posted: 10/16/15 at 9:25pm
The dance captain also helps run things after the choreographer's no longer present.
Posted: 10/17/15 at 10:04pm
It's not standard practice, but I have to say that -- were I to ever become a Broadway director -- I'd try to make every performance of at least the first couple months of the official run. I dunno why that amount specifically; it just seems about right to me.
Posted: 10/17/15 at 10:28pm
Michael Grief checks in on his shows often...
Posted: 10/17/15 at 11:05pm
It's not standard practice, but I have to say that -- were I to ever become a Broadway director -- I'd try to make every performance of at least the first couple months of the official run. I dunno why that amount specifically; it just seems about right to me.
Ha, no one else wants the director around - and they know that. Until opening is enough!
Posted: 10/18/15 at 8:35am
Well, as I've often been taught over the past ten years of struggling to make it in this business, you don't die from not being liked. Put another way: we don't have to date or even be friends. I just have to deliver a good show and keep it in good shape.
That said, this would be if I were a director. I've learned that I'm good with staging individual moments, but a cohesive whole? Feh. I couldn't direct traffic.
Posted: 10/18/15 at 9:03am
Hopefully, you have another job to go to and wouldn't have time.
A director, like a parent has to let go:
Casting = conception/pregnancy
Read - thru/staged readings = birth
Rehearsals= childhood
Previews = adolescence
Opening night = adulthood.
You visit, you don't live.
Posted: 10/18/15 at 10:04am
It also undermines the ability of everyone whose jobs it is to actually maintain the show if the director refuses to let go. The sooner the director hands over the reigns, be it to the stage manager, associate director, resident director, or whatever other arrangement the show has for long-term maintenance, the sooner everyone can begin to settle into their jobs and the run.
Posted: 10/18/15 at 11:10am
I am being facetious here but, after seeing Fun Home last night from the second row, I am inclined to believe the actors ALL need remedial training in projection. We heard virtually none of the dialogue, ther were talking so quietly. This is a particular problem when they are not facing a large segment of the audience at any time. Earlier that day, we saw King Charles III from the eleventh row, and had no issues. Maybe, if Sam Gold saw it recently, he'd make some changes, including Considering giving them mics.
Posted: 10/18/15 at 12:08pm
When I worked front of house on a certain Broadway show, the star at one point exits the stage and goes through the front of the house. Regularly in the run he would ask if we saw the director today. Usually we said no, but I finally asked why and he said "Oh... well, the show we do when he's here is entirely different."
He was exaggerating, but next time I saw the director there all the performers were a little less hammy in their jokes.
Posted: 10/18/15 at 12:22pm
Given directors has many projects going on either in development or to get up and running, it's not feasible for them to check in more than once every so often. Casey Nicholaw for example has Tuck Everlasting on Broadway opening in April with previews in March then has to go to London to do rehearsals for Aladdin.
Posted: 10/18/15 at 12:28pm
@g.d.e.l.g.i.- your idea is fine in theory but in practice most directors who work on broadway are on to something else after opening night, and not even in town.
@nasty- unless that show had a lousy PSM, the director and everyone else knew about what was happening onstage every day. And in my experience, hamming it up, pulling focus and changing the dynamic of scenes are among the most typical reports (not counting tech problems). Of course, it sometimes take the director to pull the rug out from under long run lethargy, but I think you are exaggerating more than you know.
Posted: 10/18/15 at 12:28pm
Do associate directors have to be at every performance? Don't some asociate directors have to oversee every production of the show?Also do the original directors still get paid after they step away from the production?
Posted: 10/18/15 at 12:34pm
Hogans, I was quoting the actor verbatim and then said he was exaggerating. There was a noticeable difference if you looked for it knowing about it but nothing major. Honestly, I assume the PSMs were ok with it because the mugging was part of the show to begin with and the audiences seemed to enjoy it more. I think it had to do with a specific line reading or gag that particular actor did, actually.
Posted: 10/18/15 at 12:50pm
Call_me_jorge said: "Do associate directors have to be at every performance? Don't some asociate directors have to oversee every production of the show?Also do the original directors still get paid after they step away from the production?"
Associate directors who remain with the show and are integral to maintaining it, taking a lot of that responsibility from the PSM, are becoming more and more common, to the point where SDC was negotiating to have health and pension payments included in their new contract with the Broadway League earlier this summer (Disney already has this in place, so the associates on The Lion King and Aladdin are already covered). So depending on how the artistic team is set up they may indeed be there every night.
The director and choreographer will continue to receive royalty payments each week the show is running.
And nasty_khakis is absolutely correct. I have been in long-run situations where there are certain things you just end up not being able to correct as the PSM, or even an associate. Not necessarily things that are terrible, but sometimes things are just a little too big, or too subtle, and it takes the cast knowing that the director is going to be popping in to bring them back in line. Or sometimes it's even just a case of wanting to let the director see how the show has grown. I encourage the directors who want to check in to keep it on the down low, as the cast will often go into "best behavior" mode if they know the director is coming in, and then you sometimes lose moments that have developed during the run, both good and bad, because they are trying to focus on what they think the director wants to see, as opposed to what is actually happening each night.
Posted: 10/18/15 at 7:13pm
I really should know this, but what's the difference between a resident director and associate director? I've worked in productions with associate directors and I found the role to be bit of a combination between stage manager, director, and dance captain. The associate director would work with new cast members coming in during the rehearsal process, any issues that came up with staging (usually due to something like having a swing doing two tracks at once during a vacation), and any time it was necessary for a refresher rehearsal.
Posted: 10/18/15 at 8:04pm
but the choreographer and director still see the show sometimes right? Or do they at least get video tapes of each performance?
These videos come time mind
Start at 9:34
http://youtu.be/cOYQY8XFmVg they mention peter darlings name here
Start at 6:20
http://youtu.be/i8S390yuTP0 they mention joe mantellos name here.
