The Art of Keeping It All Together & Getting It Done

At many small schools, there are theatre directors who are one man/woman shows in that they’re the only adult in their theatre program.  I happen to fall into that category.  People often ask me how do I manage to do it all?  There are pros and cons of being the sole adult in charge of a production, a major pro being that I have the final say in all production decisions; a major con being that I’m the sole adult in charge of making sure that everything gets done.  Directing stage productions can get overwhelming at times, but here are some tips on how I make it manageable and keep the joy of theatre alive for me.

1. Management: 
   • It’s true that I can’t do it all; I’d be insane for trying, and I’d be lying if I told you that I did.  Being in charge of a production is a bit different than doing it all.  As director, I have the overall vision, but I delegate out the many tasks to my students (cast/crew).  I conduct interviews for students wanting to be in charge of a particular crew (sound, lights, makeup, costumes, etc.).
   • Equally important are my student directors and technical directors whom I interview for their positions.  They focus on cast and crew since I can’t give my full attention to both at the same time; they help keep everyone going without being dependent on all of my attention.  Another important position is shop manager.  This individual keeps shop crews going and has a list of projects that I want done.
   • One of the great things about creating a chain of command is that the students go to their crew chief and the crew chiefs go to either the TD (tehchnical director), stage manager, or student director instead of me.  Their questions are usually answered before getting to me.
   • I have a production meeting for 10 minutes after school on Mondays, which is my tech. day.  At this meeting, crew chiefs give me an update on their crews progress and turn in a weekly review form which tells me what/who is working well (or not), what they plan on working on that week, and what supplies they want/need and for what purpose.  Also at this meeting I tell them what I’m needing and expecting to happen that week. After the meeting,  I work one on one with my tech. crew so that I can answer questions and help train where needed.  This allows my technical crew to continue working on their projects during my rehearsals throughout the rest of the week with less assistance.
2. Lots of lists!
   • In terms of keeping up with everything I need, (costumes, makeup, props, set – paint, lumber, fasteners, tools… the LIST goes on), I keep a running list of what I need and mark off items as I acquire them.  I keep my lists separate, though, so that I can focus better.  For example, a costume/fabric list helps minimize time spent in the fabric section/store.  I keep my lists on a clipboard when I go to the store.
   • Production List and Cue Sheets: The production list comes first; as I mentioned in my blog “My Top 10 Places to Shop for Props & Costumes”, this is a master list of everything I need for my show broken down into categories  (lights, sound, costumes, props, etc.) from which all of my cue sheets are created.  Cue sheets are detailed lists for each crew that I create using Google Docs and then share with my Crew Chiefs, Stage Managers, TD, and Student Directors so that they may fill them out themselves.  The cue sheets clarify information for each show such as what page number a specified item is on in the script, which character uses the item, the cue for when the item is used/needed, and can also include brief descriptions.  I like to include web links to inspirational pictures and ideas to further clarify what I’m wanting.
3. Organization:
   • • I create a master binder which contains all of the details of the play (my prompt book complete with notes on blocking, choreography, sound, costumes… you name it …literally any idea that I have regarding the show), cast/crew lists & forms, royalty info, inspirational pictures, floor plans, etc. In this binder you’ll also find the original audition packet and tech. application for more copies if needed.  I also keep a signature form in case someone gives me money for their production fee, cast shirt, etc.  It helps me keep up with who has given me money and for what reason.
     • I like to keep a zipper pouch in there for pens, pencils, erasers, highlighters, sticky notes, paper clips, post it tabs).  I also use this as my designated receipt storage until I have time to I submit them for reimbursement.  Plastic sheet protectors are also nice for holding my inspirational clippings.  You can also slip your floor plan in a sleeve protector and write on it with a vis-a-vis pen to explain blocking and set changes.

            

4. Scheduling
   • I create a schedule that says what we are rehearsing, when we are rehearsing it, and who I need for that rehearsal.  My schedule has deadlines on it for cast to be off book and cue sheets to be completed.  It also has a date for a costume and makeup parade (for which costumes, lights and set should also be complete).
5. Break It Down
   • Knowing what all needs to be done for a show can be overwhelming for the sole person in charge of the production.  My philosophy is to do what you know you can do, not what you know you have to do.  You have to start somewhere; the truth is, you don’t have to know the whole plan when you begin. I personally just start on a project that I’m comfortable with, and that’s a step in the direction of progress.  I find that as I work on projects, my ideas tend to settle into place, and as time progresses, I sort out how to do each individual task.  It’s sort of like putting a puzzle together: I know the desired end result, and I have a strategy.  It just takes a little longer to fit some of the pieces together than others.  Sometimes I tackle tasks myself, but when I know I can’t (or simply don’t have time to), I delegate them to someone else who can (which goes back to the management aspect).

 6. Find time for yourself.  

• Sometimes I get lost in the task(s) at hand and my life becomes the production.  We need to take care of ourselves both mentally and physically because if we’re out of wack, we will be of no use to anyone around us.  I absolutely love what I do, but sometimes I just need a break from it.  I find that if I don’t escape for a bit, I tend to neglect my family, friends, and myself.
• Make sure that you’re eating right and drinking plenty of water.  Don’t skip meals just because you’re so into a project that you can’t stop.  That’s how mistakes are made, and people can get hurt.  Get out and do some sort of physical activity.  I already love swimming, but I took up walking/running and cycling also.
  

7. Have a Positive Support System

• It’s helpful to have someone who cares about and understands what you do.  In Arkansas, there are two organizations full of like minded individuals who fulfill roles similar to mine.  One is Arkansas Thespians, which is the state branch of EDTA (Educational Theatre Association) and the other is ACTAA (Arkansas Communication and Theatre Arts Association).  Within these two organizations are many professionals that I know that I could call on with questions or for help both in the classroom and on the stage.
• If there’s a local college or another nearby school with a theatre program, they are often more than happy to lend a helping hand, a piece of scenery, or costumes if you ask.  Sometimes we get the idea in our head that there’s no one willing to help, or we simply don’t think to ask for help.  In my cast/crew applications, I have a section where I ask if parents would like to help with the production.  Sometimes they want to be involved, but just don’t know how or what to do.  Get reference numbers and call if they indicate that they want to help.  Within a school setting, be sure to have the proper background checks in place.
• I am also lucky to have friends and family that support me in what I do.  I’ve even been known to pull them in for assistance on set or running the box office when I was short handed or running behind on projects.  My husband can tell you first hand what it’s like to be reupholstering a piece of furniture or working on a piece of scenery at midnight on the eve of a show.

• Last but definitely not least is my belief system.  I was raised on faith and sweet tea, and although I don’t preach my faith from the rooftop, I live it to the best of my ability.  Some rely on meditation, others in karma, but for me, it’s a my deeply rooted faith in God.  Remember earlier when I talked about not thinking of asking others for help?  Well, sometimes it seems like Christians seem to forget to call on God, both when we’re struggling and for the simple, everyday things.  James 4:2-3 says that we have not because we ask not.

So this is my process for keeping it all together and getting it all done when directing stage productions.  I hope that you’ve found inspiration and  ideas that will help you along the way in your next production.

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