How do you deal with actors having difficulty with their lines?

At what point in time do you just cut bait?

To me, somebody having line trouble ruins the whole experience.  I can't work with the cast on relationships, pace, whatever, until everybody's off-book.  It's extremely frustrating -- and especially hard for me to deal with, because I have no trouble learning lines.  So, it's hard for me to have sympathy.

Thoughts?

I think that we have all had that problem and you are exactly right - you can't move forward with anything until everyone is comfortably off book.

I have had the problem with several actors - we are a retirement community and we do plays that appeal to an older audience and that usually means older actors. 

In one case the lead was a 65+ woman who had over half the lines in a 2 1/2 hour play (my fault!!).  She worked on her lines every spare moment and still had problems.  At some point she started taking some natural supplement (Ginko Biloba???) and it really, really helped.  I am not into  these types of supplements but it did work for her.

In another case, the problem was not lack of effort on the actors part.  She worked incredibly hard but lines that were there at lunch were gone by the evening rehearsal.  She spent 8 hours a day outside of rehearsal on her lines - I had the feeling that she was trying too hard - not getting one scene down before moving on to another and just confusing her.  I talked to a lot of people about whether I should replace her and my final decision was to stay with her (over the vocal objections of some of the other cast members).  This is community theater.  If I replaced the actor, the entire community would have been aware of it.  I cast the show and I had to live with that choice. 

We did many things to ease the problem - we let the actor make up "cheat sheets" and carry them during the play.  They were in a receipe book, family almanac, sewing kit, in drawers and so on.  We spent an incredible amount of time on Improv.  We did run through after run through with the other actors learning to fill in the gaps - they got quite good at it.  Every time she came off stage, we gave her a card with her next scene on it to refresh her.  I had a back stage person there to make sure she made her entrances and so on.  The really strange thing was that it came together just before we opened - We opened on Thursday, on the Saturday before opening she couldn't remember a line, then on Sunday, she showed up and remembered lines she forgot a month ago.  The show never got to the level it should have but we were all satisfied with the result.

I saw a (very unsatisfactory) attempt to wire an actor having trouble with lines.  They read the lines to him through an earpiece.  There was always a very long pause before the actor said his lines while they read them to him and some times he still got them wrong and they had to re-read them.

In a final case that I know of, the actor gracefully withdrew from the production.  Time was short and it was the leading role so a professional actor was brought in.

I have learned a couple of lessons:  I spend a lot of early rehearsal time on HOW to learn lines.  Different people need different methods.  I make sure that they realize that there is no "silver bullet".  Learning lines is hard work and nothing works except doing the work (unless you are a kid - then the lines just fall in place).  In an eight week rehearsal period, I used to give everyone four weeks to learn their lines then went off book.  Now, I break it up further with a short period to get the first scene off book.  Then I can spot potential problems earlier and work on them.

From your post, I think you are looking for a reason to replace the actor - if you have not already decided to do it.  You have to make your own decision but you cast this person and you need to live with the decision.

Thanks -- I was not asking about a specific situation, but rather a problem that has happened repetitively.  Sometimes, it's a person who work really hard and still can't learn lines; sometimes, it's a person who seems to feel that if they're off book for tech week, that's good enough.

I've never replaced anyone, although I've wanted to and, in one case, threatened to.  I guess I was just wondering about other people's situations.

It seems like, by the time I realize there's a serious problem, it's usually too late in the day to do anything.  And even when the problem isn't necessarily serious, it does prevent me from doing all the work I wanted to do and stresses out the rest of the cast.

I used to be annoyed with directors who always cast the same people -- but if you're doing that, at least you can be sure you are getting responsible people who will do (or are capable of doing) the work.

It's just one of the frustrating things about directing.  And somebody who will not/cannot learn their lines prevents me from being able to do the things I love about directing -- working with the characters, bits, etc.  But you're right -- I cast them, so to some extent, it's on me to help them.

Amy --

I've been down that road many times as a director and as an actor. I've always found learning lines to be easy... up until the last couple of years. This last show I was in, I was the slow one on my lines. Of course, I felt terrible, but the harder I worked at it, the worse it became. Finally, tech week, I made the breakthrough and got it right. What happened? Beats me... the only thing I can think of is that I finally got all the lines in the right order in my head. Up to that point, I knew the lines but couldn't keep them in any semblance of order... I had no idea what was next. But once I got it, I GOT it.

From the director's chair, I've seen this type of problem many times... an actor knows the lines, but isn't firm on what comes next and therefore lacks confidence. I'm a big believer in learning lines in order, one page at a time, then putting the pages together. It's a tough way to do it, but it works. The other thing I've found over the years is that coming out of book too early can cause problem. The repetition the actors get while working on the blocking is every bit as important as sitting down and learning the lines by rote.

One other thing I've learned over the years... no matter how frustrating a slow learner is to you and other cast members, the support you and the cast gives them can make the difference. Most of the time, the actor is being harder on themselves than anyone else can be. At that point, a little emotional help can make all the difference.

I understand your frustration as a director... it's tough to get it perfect, especially when you are dealing with people who are fallible. I find it easier to deal with an actor who obviously isn't working at it... at least I know what the problem is. It's the actor who IS working hard at it who can be so hard to help, because they're doing what they should be doing.

Good comments and interesting perspectives...

I (like all directors) have "Been There" .  Actors who are slow on lines cause a long list of problems including bringing down the quality of a show and increased moral problems among the cast.

Some suggestions that have worked for me:

Do a lot of table work early on in the rehearsal process...I have found that the more actors reallly understand what is happening (the plot, the themes, the relationships, the sub text, the references, the time period etc.) the better for line learning. Sit around with entire cast and read the play aloud many times. You talk , (share your vision, explain the themes you intend to pull out and your what your research has turned up anout themes, time period etc.) to them.

Set a firm schedule of off book dates...publish the rehearsal schedule with these dates included and distribute first day ...space out the deadlines by acts or pages or whatever works for script...have a final off book with no more scripts allowed (but they can call for line)...and a final day to call for line...after which they will have to "fake it" up there with no help form you or the stage manager or book holder..(EX: off book act one: Oct. 1, Off book act 2: Oct 7 ...no more scripts out Oct. 17, final off book no calling for line...Oct 21.)

These have improved the situation for my shows...hope it helpsyou.

Good luck,

Countbio

It had been a while since I had been on stage, but I took a part in a musical this summer.  I had about a 30 minute drive from my house to the theatre, so I put all my lines (along with a few cues) onto a CD.

I found this method much easier than me sitting around trying learn them.  Although, I did do a bit of that in the beginning as well.

I find as I get a bit older I'm not quite as confidant as I once was.

The best way to learn lines is to understand them, and to duplicate the process your brain actually uses in putting spoken words together.  Generally, that's through visual imagery.

When you tell me what you did this morning when you woke up, you're replaying the scene in your head.  So to learn your lines, you need to create and replay a visual movie in your head of what was going on in precise detail.

With practice, your word selection . . . or should I say your character's word selection . . . will match the text exactly.

 u werent much hlp sorry 2 be negative but ur advice was too complicated and i was unfortunately excused from my play because of the fact i dint no mi lines no matter how much help i had

This is what I do and it's way better than any other technique I've tried. Just like burning song lyrics in your head. I recommend doing it in blocks of no more than 7 minutes of dialogue at a time though. Or if it's more spaced out...take it scene to scene.

I did my first semester in acting (college) and we had to choose a scene for scenework. It was from Edward J Moore's The Sea Horse and only the last few pages of ACT I. It was grueling! Took forever to get down. I've started on Williams Uggims from UTBU and I've got most of ACT I down and I've only had the script just over a week.

In high school I used flash cards......worthless!

Learning lines is always a challenge. Luckily, I was in a Masonic youth organization that required lots of memorizing. My grandmother taught me the method I still use.

Read through the whole block of text first (meaning, sentences or scenes, not the whole play, at least, not for learning lines). Then start with your first sentence, or phrase in the case of longer speeches. Repeat that a few times, then say it once more and read the rest. Keep adding more and more in the same method. And if you think you know the next line - go for it! (You'd be surprised how close you can come after all that reading, well, maybe not.)

Another friend writes down the cue lines and his lines in long hand and reviews them at work, then keeps it backstage for review (for the bigger parts).

And there was one person who had trouble getting off-book for a show (he was the detective in a murder mystery). The producer ran lines with him when he wasn't on stage, as did some of the 'dead bodies'. By dress rehearsals he was good to go.

I do not advocate the use of scripts backstage during the run and here is why...

In one show I directed there was quite a morale problem due to "cheat sheets" in use during the run. Several cast members were very put out with (to put it mildly) a cast member who openly used them. They felt it was disrespectful of the show and of the efforts of everyone else who had "done their jobs on time and well" for her to have never fully learned the show. They were also always "on pins and needles wondering if she was going to show up at the right time and say the right thing". No one had confidence in or respect for the "cheat sheet" user. After that episode I do all I can (and have my SM's do all they can) to discourage the use of said... except in extreme conditions..like a last minute repeacement etc.)

Good Luck,

Countbio

True that....if you don't know your lines forwards and backwards...how can you even begin to act in the first place? how can you concentrate and be "in the moment" if you're trying to remember what to say? How can you react if you don't know what your'e reacting to?

cheat sheets....hrumph!

Just wanted to add to this  - to the directors.  It's really important to give your actors an off book adtes for lines.  Even break the play into Units (if there are no scenes) and give a date for each. (general rule is - once it's been blocked it should be known).

I realized this when an actor told me 'Can you give me my 'off book' days"  and I said 'I haven't decided yet - just do your best.'  He said 'I need a 'due date' to make myself learn it by then'. - aaah.  Actors are a last minute / craunch time/ kind of people (improv anyone) so you need to give them dates and remeinders.

Also - I totally agree with this: "...how can you even begin to act in the first place? how can you concentrate and be "in the moment" if you're trying to remember what to say?"

Well ... many of you have given reasons not to look at a script and I suspect that many of you are excellent actors.  However ... since we (I) are referring to community theatre I think you should give some of us a break.

At times we have less than perfect situations when casting a show.  We might very well be casting someone whose last appearance on stage was 25 years ago in high school and their nerves aren't at a professional level.  Lord knows that we don't all have the luxurey of having an experienced cast with each production.  Some of us feel darned lucky ust to have enough people show up for auditons so that we're able to actually produce a show.

The last thing on my mind (I prefer the production side over acting) is whether a person likes to refer to their lines when they're off stage.  If it has a calming affect or makes them feel more confidant, then I'm all for it.  In this community theatre we do what have to in order to survive.  Cheat sheets won't be banned anytime soon around here.

Scott

I think most of us here fall into the category of community theatre or at least college theatre. I know I'm not a pro, but I DO learn my lines. I skimmed it ONE time in my life and I won't get into specifics, but it was enough to never EVER do it again. Let's just say there are certain people that wouldn't work with me for a few years.

Remember, it's all about TRUST. You have to be able to trust your fellow actors and everyone else to do there jobs so you're not even thinking about it...cause you have plenty to think about yourself.

Keep in mind that I'm not talking about someone not being off book and not knowing their lines.  To me, that's a whole different situation.  If you don't know your lines then you are most definately cheating the audience as well as your fellow actors.

I remember one time in high school where we had to think really fast ... South Pacific took a turn for the worse.  

No ... if I thought there was any chance at all that I couldn't learn the lines ... I wouldn't take the part.  I don't know why anyone would ever do that, but I guess it does happen.

Look i am in Blue remembered hill on tues, i hav the main part (most of dialect) and i no NO lines im f**kED!!!

thought id browse the net for sum hints, but as i can see im f**ked

cheers!

I've been acting in community theatre for most of my life, and I've never experienced difficulty with lines until now.  We are putting on a musical in 5 weeks.  The director wanted us off book in a week.  The queen in "Once Upon A Mattress" rambles on and on ... to the tune of 274 lines of text.  (My daughter counted them.)  To make matters worse, the director, sits on the script correcting every preposition, every paraphrased syllable (for example, do I call the prince dear, darling, sweetheart or..."the princess went to bed or got into bed, or does the prince say, "please mama" or "mama, please")  I know that getting the script word for word is important, but that will come with continued practice.  The result is that rehearsals are nothing but stress.  I know the lines, but I know the director (only 9 days before showtime) is sitting on the book waiting to interrupt the flow of the scene and correct me if I miss one of Queen Aggravain's over-abundant adjectives, so I find myself freezing up a lot.  This has completely undermined my ability to develop my character or get a feel for pacing, because we're interrupted constantly.

I disagree with those who say that you can't start to work on character until lines are fluent.  I use the blocking and the characterization to learn my lines.  Maybe that's why I've never had any problem.  I'm afraid I'm never going to be cast by this director again, because I've snapped back a few times "Please let me get through this in character! or Can we please get through this scene without interruption unless serious problem arises?"  I know my outbursts are inexcusable, but as some earlier posts have pointed out... this is community theatre.  Most of us work 8-11 hour days, then go straight to rehearsal, then get home and go to bed.  At some point we all snap - especially when the cast is constantly berated because of small details, when there have been far more important problems.  We just got a music director yesterday!  Up until now we've been singing to a cd with the vocals on it!

Sorry - I had to vent.  But do other directors value the accuracy of lines over the flow, cohesion and pacing of the show?

Hi Jeni,

If it's pretty darn close to the right line and it fits with the character I would (as a director) let it go.  "Dear", "Darling" - whatever - it's the character that counts - to me.

I think you should talk to the director before the rehearsal and say "I really want to get the lines right but I am having a hard time when I get cut off.  Could you maybe take notes for me.  Let me get through the scene and then afterwards you could tell me which I messed up on."

This close to show she should be taking notes anyway.

Hope that helps.

Nyria is absolutely correct in her suggested approach. Frankly, to me it sounds like you don't have a director... you have a bookholder. I worked with a director like that... once. Several years later, he was directing a show and I heard from cast members that he was doing it again. I went in, took his script, and suggested that he let the bookholder do their job and he worry more about character and the production. I may or may not have been right, but it helped the show.

However, none of that helps your situation... you seem to be stuck wth this one... take Nyria's advice and try to explain to the director the problem you're having. The director should know how much concentration is required and give you the opportunity to work through the process. I've found over the years that talking with people directly can smooth over the problems and prevent misunderstandings.

This director has the SM or "book holder" give line notes at the break or after rehearsal to each actor....don't stop the flow once it is on it's feet. But in fairness to the author...the lines should eventually be learned fully and correctly.

Good luck,

Countbio

This year I'm having a dreadful time getting my actors off book.  I kept asking every single day--how you doing?  I was hoodwinked, because I kept seeing them running lines with their fellow actors in between classes, etc.  But it wasn't getting through--because they would say the two lines they know and then chat.

I had to discipline them.  I'm making each actor write their lines for each scene 3 times while they're not on stage.  Then they have to take the papers to the stage managers and get cleared as being off book once they've said lines perfectly. The stage manager will then sign off the scene.  If they can't do it, they owe us another 3 sets of written scene.  I feel one way or another they'll learn their lines before I strangle them-but this has been the worst.