When you don't like something...
Printed From: Community Theater Green Room
Category: Producing Theater
Forum Name: Directing
Forum Discription: For questions about handling shows, actors, crew, board members, children ...or do we repeat ourselves?
URL: http://www.communitytheater.org/forum/forum_posts.asp?TID=3458
Printed Date: 11/23/24 at 2:30pm
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Topic: When you don't like something...
Posted By: chel
Subject: When you don't like something...
Date Posted: 9/14/08 at 5:28pm
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If the set is not complete and you see the wallpaper or paint for the set for the first time, (it's not up) is it ok to say "I don't like that." I realize it might not get changed, but are suggestions or looking into other possible colors considered unacceptable?
Ideally these ideas are shared at the production meeting, yes? If the set designer goes in a very different direction than discussed should s/he check with the director first?
Are any changes or permissions after the production meeting completely deferred to the "Artistic Director" and they make the decisions in these regards, the Director has no more input into it? ------------- chel www.windhamtheaterguild.org |
Replies:
Posted By: dexter74656
Date Posted: 9/14/08 at 8:07pm
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The director is responsible for the whole show. He/she may delegate down, but they're still the ones at the top. If you, as director, don't like something for your show, then it's completely within your jurisdiction to say something about it. That said, every theater has a different set of dynamics. For us, I tell my costume and painting and set people the same thing: you can bring in whoever you want for your team, but if I have an issue then I'm coming to you. But be careful about making people angry, though - if you've never worked with them before, they may not respond to criticism (or know *how* to respond to *your* brand of criticism) very well. Keep the suggestions peaceful - say "Do you think it's possible to explore something a bit more yellow" as opposed to "I hate that." |
Posted By: Topper
Date Posted: 9/15/08 at 12:47am
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Diplomacy is always good -- especially when dealing with creative people.
If something is vastly different than what I had discussed at a production meeting, I speak to the designer (PRIVATELY) and ask "is this what we had originally planned?" If the designer becomes defensive (or out & out lies) then I respond politely with "I'm sorry, but I was picturing something very different. Can this be changed?" If yes, then great. If the designer again disagrees, (No time! No money! No materials!) Rather than trying to bargain for more time or money (which is never available) I merely say, "Well, maybe I'll have to wait until it's all done to see what your concept is. But if it still becomes a distraction, then I'm sorry, but it will need to be fixed." At this point the designer realizes I might just designate someone else to fix the problem and they become more agreeable. "What is it that is distracting to you?" they ask. It's important you are SPECIFIC in your answers, rather than just "I don't like it." The color is too bright and needs to be toned down. The wallpaper is uneven or too complicated ... etc, etc. Offer SOLUTIONS rather than point out problems. Can we do a quick sponge wash with a darker shade? Would another trim color soften the palette? Can we hide the problem areas with art, drapery or furniture? Sometimes the designers are "too close" to the project to be able to look at it through another person's eyes. ------------- "None of us really grow up. All we ever do is learn how to behave in public." -- Keith Johnstone |
Posted By: JoeMc
Date Posted: 9/15/08 at 2:15am
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As the previous posts have suggested. adopting the 'tip toe through the tulips' method, will achieve better results, when dealing with delicate flowers, found in this game. Whether it be Pro or Ameatre.
Yes you have the prime & further input as Director, especialy with the Artistic Director, in your theatre set up. At this stage you still sit on the right hand side of god - if not god it's self!
I have just assisted at a local comeatre here. Where the set ended up painted in a bright off white colour.
The lighting techie contact me on Fathers day & asked for help with the mise en scene & what were colour lighting palette options he could use.
In this situation the Director had thrown it back to the techie to fix, rather than upset the set designer.
Rather than supply the punter with a pair of sunglasses each, I suggested he use rose/pink in his lamps, instead of leaving them as open white light, from only the FOH lighting bars
. Also to add light salmon back & side lighting, to give definition to the luvvies & warm props on stage.
I have yet to see the results, but at least it will improve his options that he can play with.
This is something I instigated recently with our State theatre Association, to set up a technical advisory pool. That any member theatre group can access & get help from. [TAP is made up of Pro & Am theatre bods] As away of retaining valuable reusable expertise & empirical knowledge in theatre. For the most part it is a 'hands in the pocket' advice system freely available. Without burning out and over loading our techies, so fusion doesn't occur. At present we can almost cover most aspects of theatre. At this stage there only 20 of us, but it is growing. We have managed to get a few who have, for one reason or another, spat the dummy & left theatre completely. thus offering a way to be reconnected with comeatre. Hopefully slowing down the inevitable brain drain & loosing them completely. ------------- [western] Gondawandaland "Hear the light & see the sound! TOI TOI CHOOKAS {may you always play to a full house!} |
Posted By: SweeneyBob
Date Posted: 9/15/08 at 3:44am
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My mother is a set designer. I remember she was working on A Christmas Story and the director came up to her several times and mentioned that he didn't like the wallpaper here or the paint here, etc. Yet each time she told him to wait 'til she was done. And he did. And he liked it each time once she was finished.
If you really like the work of your set designer and you trust them, wait 'til it's done. As dexter74656 said, it is completely in your jurisdiction but perhaps you haven't gotten the whole effect yet. "All of the parts, none of the whole". But if the set designer is just completely off base and not on the same page as you, you will regret not speaking up! |
Posted By: pdavis69
Date Posted: 9/15/08 at 8:47am
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You can always change something, but be careful how often you do this. If you repeatedly upset your builders, you may find it difficult to get them to build for you again. When a playhouse is limited on builders, dressers etc. you sometimes need to swallow your pride and let it be. Or you can be like me and do it all yourself (nervous exhaustion after each show, not recommended). ------------- Patrick L. Davis Fort Findlay Playhouse |
Posted By: jaytee060
Date Posted: 9/15/08 at 11:36am
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Ideally of course, the director should meet with the technical staff prior to any creative work beginning. This way all people involved should be of the same mindset. I am reminded of a show I directed where the set builder had the set constructed prior to our first rehearhal. Normally this would be great, but when we started to block we quickly discovered that the set simply was impossible to work on. I had to go to the set builder and ask him to redo a large portion of his construction. I have since then tried to be very specific as to what I want. This should all be worked out before tech stuff is started. I am still apologizing to pdavis69 for this. Luckily we are still pretty good friends ------------- "REMEMBER ME IN LIGHT" |
Posted By: chel
Date Posted: 9/17/08 at 9:22am
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We learn from our mistakes. This has been great advice and a lot of reassurance for me.
I was told when I mentioned to our set designer that plaid wallpaper was not what I had expected the Artistic Director reamed me out for not trusting my crew and appreciating the volunteers. That the director does their job, the set designer their job, etc, the director has no more input.
While we don't have time to change anything, or for that matter, completely finish (we're short on staff) let's just say our costumes and set together are.... words escape me.
My very favorite, wonderful set designer said that it wasn't a bad comment I had made and he should have let me see the wallpaper he picked out first.
But when all is said and done...it may be wild to look at, but it's looking to be a great show. I want the audience dazzled by my actors not focused on the set anyway.
 ------------- chel www.windhamtheaterguild.org |
Posted By: Davenport Scott
Date Posted: 9/20/08 at 4:25pm
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As a director, I am responsible for every aspect of the show coming together as a unified artistic vision. I do a lot of research up front, and I usually know what I want (or what I think I want) prior to talking to my designers. And I talk a lot to my designers before the first penny is spent. I want to make sure we are all on the same page and that they understand where I am going with the project. I then want them to come back to me with their interpretation and ideas. They will come up with stuff I never thought of - both good and bad. I am always willing to listen to new ideas even if it wasn't part of my original plan. But the final decision is mine. As a result I've not had to deal with a lot of 'that's not what I wanted'. When it does occasionally happen, I talk to them about in in specific terms of why it doesn't work for me and ways to fix it. Very open dialog, and nobody is ever pissy, including me. And any artistic director that says that you as a director don't have control of what goes on your stage should be fired post haste. Artistic Directors are there to guide the vision of the theatre as a whole, by supporting the individual shows within the season, and helping the director realize the shared vision of the season within that particular show. |