AUG
17

The First Day of Rehearsals

By Jon Jory 

Jon Jory is the author of six plays with Pioneer Drama Service.  He also has written two textbooks of tips for actors and directors, respectively. 

Even after all these years, after all the shows and hundreds of actors I’ve directed, I get scared.  Why do I do it?  What if I sit down with all those actors and don’t know what to say?  Nightmare!

So, here’s what I’ve been doing for years on the first day.  One might call it unnecessarily obsessive, but it’s gotten me through the shock of the first rehearsal for more than 150 productions.

First, I like a little sense of occasion.  Because getting to do a play is a gift — so make it a treat for all.  I like to have flowers and snacks on the table.  I like boilerplate but earnest introductions:  “Well, here we are.  Let’s go around the table, say who we are, and what part we’re playing.”  And I do this even if everyone already knows each other and/or what roles they’re playing.  It’s like, “Hey, we’re here.  Let’s make it official!”

Next is a good time to introduce the designers, with the set designer first.  Perhaps there is even a set model to help create enthusiasm among the cast and give the designer something tangible to discuss.  Next, introduce the costume designer, who might have some sketches or pictures that can be passed around.  And don’t forget the sound designer, but don’t expect them to do more than wave politely.  Finally, introduce the stage manager, “the master of all they survey.”  After the director, this is the person to whom most questions can be directed.  Show them all the respect they deserve.

Then, it’s time to talk positively about the play or musical.  This is not optional.  Every director needs to have skin in the game.  Enthusiasm is a necessary piece, and it helps everyone relax to see all invested.  I once heard a director say of a show, “Well, I know this isn’t everyone’s first choice, but we’ll get through it.”  Can you believe it?  What kind of buy-in is that?

It’s also imperative to analyze the play and discuss what it’s about.  “Why are we telling this story?  What are we doing here?  And if you don’t have a personal answer to that question, why are you at the table?”  Even Harpo Marx, master of chaos, acknowledges that every play has something to say to its audience, and every scene supports that message.  Yes, even lunatic comedy is speaking to us as well as making us laugh.

After that, I talk about three or four moments in the play that stand out for me and that I love.  I also ask if anyone else wants to join in, and some brave soul who sees how far out on the ledge I am usually joins in.

All of the above should take place within 10 to 15 minutes.  After all, everyone wants to get to the meal.

Now we read.  No, we don’t just read the play straight through.  This isn’t the land of the robots.  Instead, I’ve already chosen about ten scenes or moments I want to chat about for a couple of minutes.  These moments either speak to the theme, define a character, or make clear the character’s crisis, the reason why the character is in trouble.  In a musical, I might say “Why this song?  Why now?”  and then chat about the brilliance of its placement in the dialogue.

I want the actors to leave the room enthusiastic and actively interested in the work ahead of them.  That’s the whole point of the first rehearsal:  to create enthusiasm for the work ahead.  At one point (or even two or three points), I say “I just don’t get why she says that or why she says that at this point.  Help me out here.”  Help me out here!  That’s a key moment in a first rehearsal.  It is crucial that the cast feel like we’re all in this together and that good ideas come from everywhere in the room.  The director is not the sole possessor of wisdom.  Don’t be that.  That shuts the room down.  Rehearsals that are dictatorships suck.  At the end of the reading say “Thank you” and some version of “Is this fun or what?”  Creativity is a party where hard work is done.  If people leave the room really looking forward to the work ahead, you are an ace.

Don’t forget, we’re all scared at the first rehearsal.  Try to make sure they’re not scared at the second.  Thank the cast wholeheartedly — they just did a hard thing well.  Now you can let the games begin.