Introduction

Although it has been laid upon my shoulders to comprise these helpful guidelines for new or first time director, I would like to stress that they are by no means a definitive methodology for directing. Just as in real life, every one is different and has their own methods of working and I would not ever want to impose my own ideas or techniques onto others. It is important to find what works best for you in all aspects of staging a performance and there is no easy way of doing this. Unfortunately it is a case of trial and error, but the best learners use their past mistakes to inform their future practice, so do not be disheartened by the lows, use them to create future highs!

Still, I hope you will find these notes useful for those initial steps to get you started. But please remember, they are only guidelines!

Where to Start

1) Ideas
I don't feel as though I need to say much here; but do make sure you have thought through your ideas adequately. Many problems can arise if the director has few or no ideas of their own. Final decisions will rest with you and therefore you will need to have a good idea of how you want the 'big, overall picture' to look.

2) Planning Your Time
It is imperative for anyone thinking about devising a performance to either buy a diary and/or make a plan dating from the present until the date that the performance will be staged. This is the backbone of effective directing and must be used to record deadlines, meetings, rehearsal dates, auditions and anything else you will need to remember.

Effective time planning is crucial. Give yourself plenty of time to complete any tasks you may have (i.e. adaptation, writing or translation of script, administration, sponsorship and any of the relatively early procedures you think will take 5 minutes, but actually take a whole day!)

If you are planning to improvise your script during your rehearsal period, it is important to work out how long you think this will roughly take and then to decide whether you then want to script what you come up with. Effective time planning early on will save on stress later.

3) The Proposal
If you would like to use Crude Apache to stage your production, you firstly need to be a member of Crude Apache - which means you need to have taken a formal part either on stage or back stage in a Crude Apache production. If this is the case, you will then need to come to a Committee Meeting with a formal proposal for your production. In your proposal, you will need to offer up the following information: a synopsis of the plot/story; a rough idea of budget (how much you think it will cost to stage the production - see below); what you will need in terms in personnel (i.e. cast, production team, stage hands, musicians, etc.). The committee will then decide whether the production is a viable option and vote accordingly. If approved, you are then free to go ahead with your production, utilising the agreed budget but subject to any constraints imposed by the committee (see The Crude Apache Constitution).

Finances

1) The Budget
This is the thing that could make or break a production! As early as possible, you should meet with your production team or if you have not yet established a production team - on your own or with a friend, and work out an estimate of what the production will cost. Here you need to consider all areas of the production. A production will involve a variety of different areas or departments, usually each headed by a different person (although you may not have this luxury - so some may have to take on more than one job) such as set, props, costume, lighting, sound, music, publicity, production and direction. (To get an idea of the different areas/jobs/departments it would be a good idea to check out a programme for a previous production on the Crude Apache website).

Consider all of these different areas, what they will need in terms of materials and other costs, add it all up and come along to a committee meeting as indicated earlier in this document. If we like what you say and think it is feasible we'll hand out the readies! Sometimes you may have to cut back on some areas and that will mean rethinking your overall production. Unfortunately, our coffers are not brimming and so if you are thinking of something on a large scale, some of your budget may have to be found elsewhere (i.e. sponsorship).

Throughout all stages of the production process keep records and receipts of all you spend, how much cash you have left and what is already earmarked or committed elsewhere. Expenditure is generally the responsibility of the producer who should divvy out cash to other areas as and when they need it. It is also a good idea for the director to know how things stand with the budget at any given point as, remember, it's your big picture and you may want to alter things as you go which can affect your budget.

2) Sponsorship
If you are considering significant sponsorship involving large sums of money, you will need to check out the Crude Apache Constitution to make sure you are aware of the procedures in place affecting this. A copy of the constitution is available on the Crude Apache website.

It is important to start this process early. Research who you can approach (i.e. National Lottery, Local Businesses, Arts and Theatre Charities) - the internet is a good port of call here.

If you are really struggling, contact a member of Crude Apache who has accessed sponsorship funds before such as Panda, Duncan Rowe or Jo Edye. You can reach them by emailing Crude Apache (the address is on the front page of the website).

Getting the Wheels in Motion

Production Personnel

Strange as it may seem(!), putting on a production take a lot of dedication and hard work and you will need people to help you. Numbers will obviously depend on the size and scale of the production, but it is best to decide as early possible who will doing what jobs and to assign people accordingly. Here you will need your powers of persuasion as it could be that you cannot find enough people to man all the areas which need manning. Pestering can work, so get your dialling wand out! It's either that or taking responsibility for those areas yourself.

On a basic level, production personnel can be divided into 2 groups - primary personnel (director, producer, stage manager) and secondary personnel (all the rest). Primary personnel are those with whom you will have the most dealings, and secondary personnel usually refer up to primary personnel. Remember, even though you may consider the show to be "your baby" and want to have charge of all aspects of the production, there is no way you will be able to do everything yourself and the key here is delegation. Whenever there is a production meeting, you will need to make sure there is a representative from each of these areas (those marked with an * do not necessarily have to attend all production meetings - use your discretion!)

i. Producer
ii. Stage Manager
iii. ASM (Assistant stage manager) ? if you have one
iv. Lighting technician
v. Sound technician
vi. Musicians *
vii. Set design
viii. Costume
ix. Publicity *
x. Ushers / front of house *

Developing Your Production

Although your production crew is there to keep the excess weight from your shoulders, you will have the final say about all aspects of the production and hence will need to think about their departments as well. Remember to keep communication channels open, particularly in the early stages of the process so every one is constantly aware of what is required of them in the short and long term future.

The following areas will also require some of your consideration despite falling under different areas:

i. Producer

* Budget (see earlier)
* Sponsorship and fundraising
* What stage is the production at? What next?
* Time, quality and cost. What is most important for different aspects of the production?
* You will need to agree with the producer the agenda for production meetings.

ii. Stage Management

* Contact details of all those involved in your production
* Technical rehearsal: you and DSM will need to meet shortly before the tech to discuss what will happen on the day.
* Both you and the DSM will require a 'prompt script' to record blocking, cues, changes to set, prop movement etc. (You may find cutting up a script and sticking into an exercise book adjacent to a blank page to be the easiest method).

iii. ASM (Assistant Stage Manager) - if you have one. If not; will fall under Stage Management

* Obtaining/making, storing and transportation of props (and also set if necessary)
* Insurance of props (usually covered by Crude Apache)

iv. Lighting

* The 'big picture'. What do you see in the final staged production? What moods do you want o create? Aesthetics.
* Special effects. How? Cost?
* Equipment. Does CA own the equipment or do you need to hire, buy or borrow?
* If you are doing an outdoor show, remember to check those sunset times! Will you require lighting for the latter parts of the show when it starts getting dark ? it is usually best to avoid this if at all possible.

v. Sound

* How? Method - CD/Mini disc, acoustic?
* What effect do you want to produce aesthetically?
* Do you want music? If so; live or recorded?
* Positioning of sound - do you want you musicians or speakers to be seen? If not you need to think about masking.
* Your sound technician will need to be briefed by the DSM prior to the technical rehearsal so they are aware of the format, aims and objectives for the run.

vi. Music

* As with sound is it live or recorded?
* If live, acoustic or electric? (Remember, with outdoor shows music must be acoustic)
* Original songs? If yes, who will write them - you will need to recruit a competent musical arranger.
* Cover versions or CDs? Where do you stand with copyright? If you use other people's music the venue should have a PRS licence.

vii. Set Design

* How do you perceive the finished set design? (Think again of your overall big picture).
* Materials (Where from? How? Cost?)
* Anything to build? Will you need help from skilled people?
* Where will your set be? Will the space you need to fill dictate what you can and cannot have in terms of a set?
* What kind of staging? Proscenium arch, promenade, in the round?

Viii. Costume

* Materials - cost? Can you beg, 'steal' or borrow?
* Remember the CA garage.
* What is your style, genre and period?
* Remember the face - do you want that dressed too?

ix. Publicity

* The poster. Again think about aesthetics, what message you want to put to the public, how you want to sell the production.
* Teaser campaign? Can be costly but also effective? Do you have time?
* Poster information: title, author, dates, times, venue, price, CA logo and web site address all need to be incorporated.
* Printing - Jo Edye of Norwich Screen Art is the usual contact. Contact him through the CA email address.
* Press releases/previews? Tom Carver is our man on the inside. Again contact him through the CA website.
* Photographs. CA has a number of professional photographers you can use - Bert Eke, Mike Askew.
* Email a copy of the pre-show publicity, including photographs, to Chris to be included in the 'Coming soon' section of the web site.
* How much will you charge for entry? What is the deal with the venue regarding door split - this is usually decided at budget time. It is usually a good idea to have some input here if you are inexperienced before negotiating.
* Programme and ticket design.
* T-shirts ? again see Jo Edye.

Getting Underway

1) Casting
How are you going to cast your production? One of the best ways to do so is through the audition or workshop which tends to bring out the best in any prospective thespian! Obviously, it is necessary to be fair. Even if you already have a particular person in mind for a part make sure that you audition them too. Amateur theatre is about access for everyone regardless of their experience and ability and it is important for everyone to feel that they have had a fair crack at the whip. There is nothing more demoralising for cast members that the feeling that they were passed over in the audition process and did not have a chance or opportunity to show what they can do. This will also make your relationship with that person harder in the rehearsal process if they are cast. Still, there will be disappointments, that cannot be avoided and sometimes, like the captain of a ship, the director has to make tough decisions and be the bearer of bad news. Directors invariably need a thick skin and a well worn cap of diplomacy. What are your man management skills like? Do you need to think this through and develop here?

2) Rehearsals
There are many ways of working out a rehearsal schedule; the simplest of which is agreeing a set schedule from the outset which your cast must commit to. This approach can, however, be problematic in that cast members are offering their time for free and invariably have other commitments, such as family and other activities. It is important to be flexible, but not to the detriment of the production. From the outset you must confirm with your cast what is expected from them in terms of commitment and that if they feel they cannot offer such commitment to come forward there and then, rather than drop out half way through the rehearsal process.

Another way of organising rehearsal time, which can help cast members feel that you have considered their circumstances is, at the first read through/rehearsal, take along some paper containing the following grid.

NAME    MON PM   TUE PM   WED PM   THUR PM   FRI PM   SAT  AM / PM  SUN  AM / PM 
J. Bloggs    Y                Y                N                Y                N                N / Y                Y / Y

Get each cast member to fill out when they are available and from this information work out a schedule which allows cast members to continue with other commitments, such as work, clubs, sports and hobbies. Obviously there will be occasions when they will have to forfeit these commitments, particularly when performance time creeps closer. It is also important to stress if you use this method that you will undoubtedly not be able to accommodate everyone. However, this is only a suggestion and not a requirement; indeed I have not experienced this technique during my time in CA. It is a good way to let your cast know you have considered them, and hence will go a long way to establishing good relationships during the rehearsal period.

Rehearsals do need to be planned in advance and should aim to achieve a certain outcome by the end. It is also important to do a good warm up before the rehearsal proper to get your cast focused and physically warm. Warm up are absolutely imperative before performances regardless of what your cast may think!

Notes and advice are very important during any rehearsal or run through. Write down anything which strikes you, good or bad. However, when offering criticism do make it constructive criticism to keep relations sweet and to maintain the confidence, self esteem and morale of your cast.

Performance Time

Now all of your hard work is over and its time for everyone else to panic! Here is when you should be the stabilising, positive force. Morale and confidence are very important, so get your actors to hug, slap each other on the back, and encourage one another as much as possible. If a performance goes badly, it is your job to get your cast focused in on the next one and to put this one down to experience. They will also need your support and encouragement, so here is no time to be shy. Tell that you are proud of what you have all achieved, (which hopefully should be true!) and hide any of those niggling disappointments. Yes, give constructive criticism and pointers for next time, but do not drown your actors in it!

Above all, try to make sure that every one involved enjoys the production. Remember, the performance does not need to be worthy of a Tony and for many it will just as much of a learning experience as it is for you. All in all, I cannot emphasise enough that the whole process is a team effort and everyone, not just a few, has worked very hard to make your idea come to fruition.

Further Guidance

If you are still unsure about anything or need further information, it is worthwhile coming to a committee meeting and having a chat to people who have been through the process before. However, nothing beats the first hand experience and you must be prepared to make mistakes and to learn from them.

GOOD LUCK & HAVE FUN!