ACT 1, Scene 1
The curtain rises
Its mid-November, and a surprisingly windy and crisp Sunday evening in Philadelphia. Ten minutes to the 8:00 pm performance, Allison Heishman paces lightly, standing a few feet from the ticket table. She’s awaiting the throng of theatre-goers as they trickle into the historic First Baptist Church at 17th and Sansom.
The church’s Off-Broad Street Theater is the artistic home of the Azuka Theatre Company and Inis Nua Theatre Company. Allison’s latest directorial achievement, a rendition of Madeleine George’s The (Curious Case of the) Watson Intelligence is Azuka’s tenth show at this venue and their fifth production together.
Allison was drawn to Azuka’s thought-provoking and socially-conscious collection of work back in 2006, and, like many of us, she started at the bottom—stuffing envelopes. She fell in love with their work, and her undeniable enthusiasm and jovial nature moved Allison quickly up the ladder. Allison began reading plays submitted by playwrights and agents and organizing programming and events. Eventually, she worked her way up to becoming Azuka’s Literary Manager and, later, Assistant Director.
In 2010, Allison made her main stage directorial debut with the world premiere of playwright Jacqueline Goldfinger’s the terrible girls. The Philadelphia Inquirer called this dark gothic southern comedy sprayed with stage blood, “a grand, grotesque little play” and complimented Allison’s debut: “[she] directs the comings and goings with amusing style and stretches the little piece as far as she can.” Forging a great working relationship, the two have embarked on a Southern Gothic trilogy. Their second play, Skin & Bone, premiered in early 2014, and the third unnamed play is currently behind the curtain.
ACT 1, Scene 2
Exit stage left
This production of Watson has been months in the making, but what makes tonight’s 5th performance special, is that Allison will not be staying for the show. “Once the production opens, I can step away.” Allison will remain engaged, however:
“[M]y stage manager will send performance reports out to the entire production team and if an issue arises during the run of a show, it will be addressed or changed. I usually come back to watch the show a few times and if something has shifted, I’ll let the stage manager know and they give the note to the actor.”
With her team flowing symbiotically and press coverage for Azuka in hand, Allison’s Stage Manager, Lauren Tracy, and Assistant Stage Manager, Lena Bernard, continue to coordinate, execute, and manage the remaining performances with little additional oversight. “[T]hey are the true lifeline of the theatre! I, basically, couldn’t live without [them],” Allison says with a wry smile.
Photo: Johanna Austin
ACT 2, Scene 1
Offstage directions
For those unfamiliar with the on and off stage elements that go into a theatrical performance, a quick interlude:
When you are asking a group of people to make themselves vulnerable and explore the depths of emotion and human experience that make great theatre, it is your responsibility as a director to make sure that actor feels supported enough to go to those places.
When you are asking a group of people to make themselves vulnerable and explore the depths of emotion and human experience that make great theatre, it is your responsibility as a director to make sure that actor feels supported enough to go to those places.
The work for Watson’s three-week stage run ramped up in early spring. Allison and the leadership of the theatre company waded through a variety of script options for more than eight months, carefully selecting three main stage plays to comprise their fall 2014 to summer 2015 season. With final performance and rehearsal dates set, cast auditions began in the summer and were finalized in short order as only three actors were needed for the actual production.
Allison runs her hand through her dark blonde hair and quips on the importance of choosing the right cast. “I read somewhere once that ‘casting is 85% of directing,’ and I think that’s really true. The cast that you bring together will define the final product.” In addition to the onstage talent, the design team began work in August so that pre-production could start a month before the first rehearsal. Everything is perfectly timed for the stage.
In this phase, the key behind-the-scenes players are the director (or assistant director) and stage manager. Together, they focus on rehearsals and oversee any changes from the design team. The dramaturg works on new scripts with the playwright or provides research and context for established shows. And finally, the production manager, who handles the design team details, sets the deadlines for drawings and designs, and also monitors and manages the budget and crew once the set build begins.
The pre-production phase begins with a concept meeting run by key members of the design and production team, which results in several sketches and performance notes. After the team finalizes the designs, the production phase runs in two parallel three-to-four week streams, split into well-defined production and rehearsal/performance calendars. Allison works double duty with both teams.
ACT 2, Scene 2
Take your places
Set design is finalized as lights and sound systems are put in place during the last week of rehearsals. Called “Tech Week,” it is specifically structured to bring the actors and technical elements together to align the environment with the performance. It’s an extremely stressful time, and for Watson the intensity takes the form of two, very long and exhausting weekend days; the entire team works twelve-hour shifts.
During these final punishing days of rehearsal, the pieces fall together, but if incidents arise, Allison depends on her leadership style to resolve them:
[Y]ou can’t always predict how the unique environment of the rehearsal room will come together; if I find that an actor is upsetting the balance of the work, or contributing to an environment of tension, I’ll pull [him or her] aside and try to identify what’s going on. It is so important to create a safe space for the rehearsal process. [W]hen you are asking a group of people to make themselves vulnerable, and explore the depths of emotion and human experience that makes great theatre, it is your responsibility as a director to make sure that the actor feels supported enough to go to those places.
Allison stresses that these situations are rare, especially if you have taken the time to get to know your team. “[I]t’s as important to know how an actor works in the room, as it is to gauge their particular talent for a role. I take the time to learn about actors I haven’t worked with before, and find myself eager to work on other projects with actors that were great to work with.”
As opening night approaches, the final and most critical element is introduced to the production: a live audience during previews. Allison capitalizes on this opportunity to tweak any and all aspects of the production, acting, set design, lighting, and sound. “This [is the] time to get feedback from colleagues and the Azuka staff that I invite to come and see the work before it is set.” She adds: “I will continue to work with actors and give notes and adjustments to them and to my design and production team through opening night.”
Photo: Johanna Austin
ACT 3, Scene 1
The conscript
If the director is the production’s brain, the stage manager is the metaphorical heart and the anchor of the rehearsal process. Responsible for the day-to-day details, she often acts as keystone between the creative and technical sides of a production, and with the director, encounters innumerable challenges during the course of a production.
I read somewhere once that ‘casting is 85% of directing,’ and I think that’s really true. The cast that you bring together will define the final product.
The working relationship between director and stage manager is the most vital of the production. According to Allison, they are “the [people] you depend on to organize and communicate what’s going on in the rehearsal room, with the design team. They make sure rehearsals stay on track and on schedule, and they run the show once performances begin.” They ensure that each show runs as directed and designed.
“Trust and respect is a must for this position,” Allison elaborates on this vital working relationship, indicating that many directors bring their stage manager with them from performance to performance. However, as a freelance director, her situation can be different, as some production companies have their own resident stage managers. “In those cases, it’s important to get to know this [person] and make sure communication stays open and you are both able to express what you need and what you expect.”
Successful stage managers are excellent planners, well organized, and observant. They understand the majority of moving parts, and they manage themselves and others under stressful and emotional situations. They run rehearsals, take notes, and generate daily reports. Depending on the size of the show during the performance phase, they run the sound and lights, reset the stage and props at the top of each day, conduct regular and routine check-ins with actors, and direct the stage crew in addition to many more vital activities behind the scenes.
The stage managers generate daily reports and spend much of their time observing. They document and identify areas that can be adjusted and improved on in current and future shows. The reports include notes on staging and design, and they outline issues or changes that need to be made. After opening night, they are expanded to include audience reactions, ticket sales, attendance numbers, weather, and other data. Allison describes the data compared during the show’s run: “Once a show has closed, we have a post-mortem discussion, where we look at how the show did financially, artistically, and so on.” These reports form the foundation of the post-production review.
ACT 3, Scene 2
The curious case of similarities
The work performed by both director and stage manager is filled with repetitive yet vital tasks. It demands the right mental toughness and an even keel, and as is the case with behind the scenes work, it is far less glamorous than that of the actors who strut and fret their hours upon the stage.
“As a director, you become so invested in a production from beginning to end that each one feels like a family[;] beautiful, sometimes dysfunctional, but a part of who you are[;] part of your heart.” Allison gushes: “my team was a mix of people I have worked with before and some new designers, and all of them really held the show and their work up to a remarkably high standard. My actors were all very generous and talented… I had a wonderful team working on Watson.”
Much like in the design and development industry, those in the theatrical industry deal with talented, yet sometimes unpredictable team members. They juggle their lives both in and out of work. They make choices and assumptions along the way about what will resonate with an audience. They need the soft skills and temperament to work seamlessly with the creative and technical team members, from actors to set designers, and stage crews to lighting technicians.
Above all, a director and her stage manager must share absolute trust. As the curtain draws on the fifth performance of Watson , Lauren raises the house lights. The audience claps a thunderous round of applause. Meanwhile, Allison is curled up on her couch at home, tucked warmly away from the November chill. She’s writing detailed notes for the upcoming production, Eurydice, a play about the perils of looking backward. Ironically, in the world of theatre, sometimes looking backward is the only way to understand where to go next.
(Lights fade)
