Director's Notes Act 1: Preface

by Michael Litchfield

PREFACE

I think that the first thing that I want to say about this production is that it touches lives. It’s been almost a couple of months since the show went up, but even as I sit here and type, I can still feel the Spirit of it all. This was a wonderful experience, and by the time you’re finished directing this, I think you’ll agree that it has blessed the lives of many.

The second thing I will say is that it is nearly impossible to mention everything that you’re going to need to do. So, be prayerful and flexible, and you’ll get the things done that you need to. The show must go on!

As I proceed to explain the various elements to this stage adaptation, I will do so in a way that will cater to both those with some idea of what they’re doing, but also to those who just don’t know where to start! If you’re reading along and you realize, “Hey, I don’t really need to spend time going over this section…”, then feel free to turn the page, or skip down and move on to what does interest you.

Now, in general, if you’re reading these notes (and you are!) then it means that you have already chosen a route by which this production will be locally produced. Chances are, your stake [a group of church congregations] is locally producing this, and because such, you will have at least some help to access both resources and people in order to accomplish what the stake is hoping you’ll accomplish. It’s important to mention though, that the Stake follows a process, and it is your job to make sure that things are moving along in all areas. Give yourself plenty of time to accomplish what you want to accomplish. I know that sounds vague, but I think it will make sense momentarily.

The first thing you’ve got to do to get the ball rolling is to look over the music and the script of the production. You’ll probably want to read over the script at least a couple of times right away, and then at least once a week after that. Listen to the music and get a feel for what you’re going to need to teach to your actors. The better you know it, the better they’ll know it.

Also, begin right now, to think about who you might be able to have work with you on this project. Your job is to mention to the Stake that you need a committee in order to put this production on. If your Stake does things anything like ours, then it’s likely that as they think about who else could fill certain executive roles to this, they will in turn, ask you to supply a couple names that might be drawn upon.

Listed below is a rough outline of defined roles that I thought we would need to accomplish the task. It is only a guideline.

October – April
Local Producers (Stake President, 1st Counselor (contact), 2nd Counselor) - Responsible for financial funding of production; responsible for over-seeing development of production, and calling in specific people, if needs be, in order to accomplish the tasks at hand; responsible for promotions and announcements to: auditioning; performance dates; and, finding the right people for the right position (if there aren't any apparent volunteers for needed positions/roles); will organize ticket distribution for performances; will help in organizing/confirming available rehearsal locations. (High Council support from Bro. _______ [activities chairman] and Bro. _______ [music])

Executive Committee (report to 1st Counselor):
Executive Producer - ____________
Director - ______________
2nd Musical Director - _____________
High Council Representative - ____________

Executive Producer – Responsible for the overall production and final outcome. Ensures production preparation moves at the appropriate pace to meet deadlines. Assists in selection of managerial positions and acting/singing roles in cooperation with director. Ensures that all elements are in place for a desirable outcome- e.g. manpower resources, ancillary resources (props, costumes, etc.), building access, dress rehearsals at theatre site, etc. Responsible for appropriate communication between executives; will work to accomplish the desired outcomes of the producers (the Stake), will be the on-scene liaison between the Stake/producers, and the performance executives; ensures coordination of advertising and promotion activities with the Stake Council.

Director (Stage and Musical) – Responsible for the overall production, in collaboration with the Executive producer. Works to coordinate rehearsals and efforts of the executive producer, high-counselor, choreographers, and other managers. Responsible for rehearsals, and preparing all involved for up-coming performances (including musical requirements and choreography/ blocking); responsible for working with and coordinating suggestions provided by executive producer, 2nd musical director and choreographers in order to appropriately and effectively use rehearsal time; will work with each executive committee member, if needed, in order to problem solve; will coordinate actions of exec's, in order to be properly prepared for the showtimes;(over-seer of operations); responsible for final artistic and stage flow of production, including lights, sound, music and singing, set, costumes, props, etc.;

2nd Musical Director/Rehearsal Pianist – In cooperation with director, responsible for working with performers and helping to prepare them, musically, for performance; will review with director, target areas of improvement, and where to focus rehearsal time; responsible for musical follow-up with performers; also responsible for making weekly rehearsal-reminder calls;

Choreographer (Movement) – In cooperation with director, responsible for working with performers and helping to prepare proper blocking and choreography of the production; will also assist in helping the Hip-hop Choreographer with Here Waiting-choreography; will also review with director, target areas of improvement, and where to focus rehearsal time;

Hip-hop Choreographer – In cooperation with director, and Choreographer, responsible and in charge of choreographing the Here Waiting number;

January - April
Stage Manager(s) (1 backstage and another front stage) – Come close to performance time, responsible for: all performers' cues and props; set-changes; and communication between tech's and back-stage; will call the show; responsible for attendance and making sure all will be at required rehearsals at each gathering during show-week; will help in striking set at the end of the show;

Set(Art) Directors/Designers (Construction and Artistic) – Responsible for design/duplication of set; set-up and striking; also responsible for creating a simple extended portion to the theatres stage left; will work with lighting to create proper lighting back-drops for scenes; will review DVD to visually duplicate/create (as best as possible) the scenes onto the stage; also responsible for creating smoothly-transitioning scene sets; will work with Prop Manager in order to create a visually appropriate stage scene/background;

Prop Manager – Responsible for GATHERING and RETURNING all needed props (especially those borrowed); props would include all those things simply transportable, and of which are not a part of the "natural" environment (background set); will review DVD to find all required props; will work with Set Designer in order to create a visually appropriate stage, scene-by-scene; will work with Stage Manager and Costume Director during performances, in order to create smooth set changes, as well as prompt and effective costume changes;

Costume Director and Designers (2-3) – Responsible for gathering and possibly making stage costumes (and measuring performers to size costumes appropriately); will also organize with each performer, what each is wearing, and will REMIND each performer of what attire he/she should/will be wearing for the performance (some need only to bring church attire; some will need to be fitted for ancient-times costumes); will work with Stage and Props Managers in order to create smooth costumes changes during performances;

Light, Audio/Video Technician (above and beyond Theatre tech) – In charge of organizing light and sound cues; will develop/duplicate proper lighting for performance (scene by scene) - (must possess visual artistic talent); will work with theatre tech, by realizing, and communicating all (planned) technical (light, sound and poss. video) detail.

As you can see, there a few people who need to be in place in order to make this happen most effectively. The more support you have, the easier it will be on you, the director. Which reminds me…make sure you delegate. With all of these people in place, it would be a shame not to use them to their most effective capacity.

Next: Act 2: Budgeting