The Beginning of My Directorial Journey

The title of this post isn't completely accurate, because the journey probably technically began when I was approved to be a director for the season, but I didn't really feel like a director 'till this past Sunday.

Plus, "The Beginning of My Directorial Journey" sounds better than "Starting in the Middle of My Directorial Journey." So, for the purposes of making the name both cool and accurate, I'll start with the amusing story of the night I was approved to direct.

I was on the play-selection committee last year. I had inquired about directing sometime then, but the response I got was that while I was technically more qualified than most of the people that directed, because I was only 17, people might not respond well to my direction.
I was perfectly content with that and continued on. During last season, while in It's a Wonderful Life, I not only acted in it, but also gained more experience stage managing and assistant directing it.
When January and with it the beginning of the play selection process rolled around, I had high hopes of being considered old enough to be able to direct.

The night we had the first meeting I could attend, was I cool, collected and on time?
...Nope! I was coming from my Sensei's mother's funeral viewing, so I was disheveled and late. Despite my stress, I waltzed into the meeting, plopped myself down at the table, and was promptly asked by our technical director, "Now, are you available to direct any slot of the year?"
Though taken aback, I answered (somewhat) calmly, "I'm available all year, but I would prefer the fall slot."
"We needed a fall director. What do you want to direct?"

Wait a sec...what?!?!?! Really?!?!?

So it began!! I still find it amusing how I simply waltzed in there and was told I got to direct.
Over the next couple months, I narrowed down my choices (I considered doing Reserve Two for Murder, And Then There Were None, Angel Street, The Importance of Being Earnest, and You Can't Take It With You.) eventually choosing Reserve Two for Murder because A: I thought it was better for its intended audience than most of the other choices I had considered, B: It was a relatively simple production; I didn't want to do anything too complex or incredibly hard for my first directing stint, and C: I've acted in it before, so I'm incredibly familiar with it already.

Once chosen, it was eventually approved by the board, so the pre-production work began. I've enlisted an old acting teacher as my impartial casting advisor, started to tweak changes we need to make to the script, and gotten most of my audition materials ready. I only need to print up my character descriptions and rehearsal schedules on that front.
I've also decided to re-set the play in the 1980s, so I've also done research on script changes pertaining to that issue.

And that brings us to Sunday. Sunday was the end of our last show, so I was explained the process for opening and locking up the theater and then given the key.

That key is what made me finally almost feel like a real director. Thus I count that the beginning.
I hope that as this journey continues, my thoughts and musings on directing will continue to entertain you.

Until then, my (probably few) readers, remember Ford Prefect. I hope that you and I will continue be hoopy froods that know where our towels are.