Would it be wrong to argue with the director?

depends on the director and how close relationship you have with him/her.
One of my director's is always open for ideas and suggestions.

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Updated On: 2/7/06 at 09:46 PM

You have to be really careful in how you approach this. It's not so much seeming ungrateful, as being difficult. Giving suggestions for your character, and trying new things is great, but when it comes down to it, as an actor, your job is to put on the show that the director wants. And don't give notes to a fellow actor.

I really hate the way us actors are made to feel "greatful" for being cast. We are trained professionals who have something to offer. Yes, there are thousands of people fighting to get work, but that in no way belittles the respect that you deserve.

A good director is open to ideas. The best directors are "traffic cops": directing the ideas that are given to them by the actors. The best idea always wins.

However, if you can not engage in a respectful, professional dialogue with a director, you have to suck it up and do what they want. You have to work within the given circumstances that they are demanding of you.

Otherwise, you could throw a fabulous diva fit!!!

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the key would be if you made it about a personal problem that you have with your character. rather than "ok i have a good idea about this scene," the director would respond a lot better from "i'm having a problem with my character in this scene and i think that if we try this and that with the scene, it would be a lot easier for me." if it's not an actual direction in the show you're upset about but rather the way the rehearsals are being done, say something about "i don't feel like i'm as productive as i could be ... is there any way we could not have all the actors called if you're just going to work on one scene" or whatever the problem may be. if you personalize it, the director will see the problem as something you have a right to talk about, and something that should be fixed.

granted, i don't know the specifics so i'm not sure if that method would work in this situation, but that is the sure-fire way to bring up ideas to the director and have them actually listen.

I'm doing a show right now - Fiddler - and our Tevye seems to have forgotten that he's not the director. He's constantly telling us what to do. It's really annoying.

I believe in the seperation of actors and directors for this exact reason. However, if you have a problem with a character or a scene, totally talk to the director. If you think you know better than the director how things should be done, step back and take a good look at the situation before butting in with advice. Maybe the director has a vision and is - in their own time - getting there.

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Wow, thanks everybody you guys are a big help


Well, my situation is that ,for AIDA, the director just..isn't really trying. Don't get me wrong, he's a really fun guy and all, and when we did The Sound of Music, he had the best ideas, and when we did YAGMCB. But because of the music of AIDA, the show calls for a more mature cast, and because of this we got all teenagers ages 13-17, good performers who cand handle themselves well instead of the usual younger kids. But since we have a cast of older kids than usual, the director just sort of stops directing and, I don't want to say makes us direct because we certainly don't, but he just sort of...leaves us. And, it's pretty early in the rehearsal schedule now, so we don't want to appear diva-like so early in the game because it's possible that he's just starting to come up with ideas.


BUT, this sort of ties into the previous discussion about race in AIDA. It's an all-white cast except for a few black male dancers, and of course with AIDA, we want to show a racial difference, which is kind of hard with 2 white people. But even though we're toning my skin more, it doesn't seem enough because now he wants to eliminate the original idea of a color theme to promote a difference you know?

I dunno, I guess we'll wait a couple of more rehearsals then ask whats up. Politely and privately and non-diva like.

Thaaank you all!

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I'm doing a show right now - Fiddler - and our Tevye seems to have forgotten that he's not the director. He's constantly telling us what to do. It's really annoying. >>>

Oh, now that's a totally different animal. Actors who try to direct other actors are the worst type of actors. And I'll tell you, these actors who try to tell others how to do their thing generally have their own problems to deal with.

I really resist giving other actors direction during shows (And don't be fooled when someone offers "ADVICE" they are actually offering "DIRECTION" and this is WRONG.) I often get asked for notes from actors, especially from those I worked with before and I really resist this. I have to admit, even I don't always consider it appropriate, I will offer my two cents if asked but I will also preface the discussion you need to talk to the director but here's my opinion. Never offer unsolicited advice to a fellow actor.

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Unfortunately, one really can never argue with the director in a professional situation unless they're looking to get fired! The director is your boss, and you have to treat him as such. However, if you happen to have a personal relationship with him/her, if you're polite and tactful about it, in PRIVATE you can sometimes nudge them a little.

On a similar note, NEVER EVER say "My character wouldn't do that" or "My character wouldn't do it that way". That is part of the actor's job--to find a way to make the director's vision work.

So here's the story:


After rehearsal today, I went into his little office thing to talk privately. I think I behaved well, here's what I said:

Me: Hey Rob, mind if I talk to you for a second? I'll be quick, promise.
Rob: Yeah, no problem Tiff. What's up?
Me: Well, I had a couple of questions about the show..
Rob: Shoot
Me: Now, I don't mean to sound rude ,because you know I don't want to be all diva-like-
Rob: Ahh don't worry about it, give it to me straight
Me: Well, the thing is, I thought the story of Aida was to show a strong love and a racial difference between the two countries. Right?
Rob: Well, yeah. But didn't I already tell you, we're toning your skin a lot and putting heavy black eye make up.
Me: Yes, we talked about that already, and I think that will really work. But remember that suggestion you told me you were working on about having color-coded costumes?
Rob: Oh yeah...
Me: Well, whatever happened to that?
Rob: The thing is, we're not really sure if the audience will understand that.
Me: Well, I may have a suggestion if the audience doesn't catch on..
Rob: Please suggest away. I'm willing to hear suggestions, especially after your help with The Sound of Music last summer.
Me: Thanks...well, what if, in the playbill, we do a sort of documentary type of thing, doesn't have to be long, 1-2 pages I'm sure will be enough, where we can quote you talking about the racial division of the two countries and the ideas you installed.
Rob:...That could really work, good idea! I'll talk to Ash about it (Ashley p.s. is the editor of the playbill stuff)
Me: Thanks for listening!
Rob: Oh, anytime. Anything else you'd like to bring up?
Me: Well, one more thing. Again, I hope you don't find this rude or obnixious, but, are you okay? You just seem not really into it lately, and I know it's just the beginning of the rehearsals and all, but you had great great ideas for The Sound of Music, imagine what you could so with Aida!
Rob: Ahhh I see. No worries, I know you're only trying to help. Which is good, I appreciate the concern. I'm okay, just really really tired lately. I apologize, I haven't really been doing my job-
Me: Oh no, it's not that you havent been doing your job-
Rob: nah I really havent. Time to switch back to coffee, eh?
Me:..always helped me get through a day
Rob: Well not anymore it doesn't, your off of coffee, got to keep your voice all well for those belts. How's that coming along?
Me: Pretty good, still working on a technique with Diana, but otherwise doing good I think.
Rob: Great. so, anything else while we're at this/
Me: Nope, nothing. Thanks for understanding Rob, and thanks for your time.
Rob: Really, anytime. I need to know that you guys are always comfortable with what I'm giving you. Make the show fun for the audience and the actors.
Me: yeah, I can't wait for you to get on that coffee. It's gonna be a great show
Rob: Yeah it is, a dream job. And now I must leave you since it's time to get the dancers out. Thanks again Tiff.
Me: No, thank you. Bye!
Rob: ciiiao


....uber long sorry

But from what I can remember, I think it well...

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Theatre is a collaborative art. Any director worth his salt will accept your input. However, that does not oblige him/her to implement your ideas. It is his/her call and you will have to live with both minor triumphs and situations in which you feel things are not as they should be. Remember - you are not out front and this production is not your vision.

Select your battles wisely. Don't argue about every little cross to stage right or costume accessory. Be aware of your role in the production - if you're a cameo/walk-on with a few lines, understand that your input may not be taken with the same import as somebody in a major role with a history of collaboration with the director. Trust between collaborators is earned and that can take some time.

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