Directors Notes:

Off the Ground was formed in the belief that a theatre company is at its best when all the members of the company work together, all give their ideas, and enjoy the work that they are doing. Only when a cast and crew know and understand each other and can feel free to try new ideas, make mistakes and suggestions, can a production be totally successful. We aim to work as a team, not a group of individuals.

To this end, a large part of the director’s job is creating the right atmosphere for the cast to work in. I believe that rehearsals should be fun, as well as being hard work, and that the cast should be able to have a laugh together.

This was particularly true for this production as the actors all have several scenes where they have to touch each other, or run their hands through another actors hair, or show familiar affection for each other. If we are uncomfortable in each other’s company these sort of movements can be genuinely unpleasant to perform.

We also have to fight each other which requires an immense amount of trust between the two combatants. Most of the cast knew each at least one other member of the team, although Helen had never met any of us before, and, as you can read in her notes, the first couple of days were slightly uneasy for her.

The question of how to build a successful team is a big one, and people spend immense amounts of money going on courses and reading books telling them how to do it. I believe that one of the most important factors is being able to laugh together. If one of us (including me, or maybe that should be especially me) cocks up there are no recriminations or sly words, but just a general giggle from everyone including the person who has made the mistake. We all do it, so we might as well laugh at it.

It is my belief that the director’s job is not to come up with all the ideas for a production, but to listen to all involved and to incorporate everyone’s best ideas, while maintaining a cohesive feel for the play.

Before the rehearsal process begins I tend to know how I want the play to feel, or what I want the audience to feel when watching the play, although I have no exact ideas how it will look. Each actor works differently, and until they are there in front of you, you cannot presuppose how they will move, speak or use their face to express ideas.

When Stewart (our designer) gets angry (which is very rare) he shouts.

When I get angry (which is slightly less rare) my voice lowers to a whisper. We are both livid, anyone watching can see that we are both about to explode, and yet we are both acting in a completely different manner. It is exactly the same on stage, and the director’s job is to observe the actors and to encourage them to react in a way which feels comfortable to them.