So, first thing’s first…

What is an assistant director? What is their role in the creative process? What kind of kick-ass kung-fu ninja skills do they need to have? So many questions…

At the beginning of April, I received a Facebook message off Peter asking whether I would be interested in assistant directing on 3Crate Production’s tour of ‘Blavatsky’s Tower’. The dark comedy, written by British playwright Moira Buffini, explores the chain of events that descends on the reclusive Blavatsky family when an unwitting doctor permeates the barrier that they have erected between themselves and the outside world…and what unfolds when said doctor decides to stick around. Before Peter’s message I had never heard of the play, nor had I any experience of being an assistant director. Anyway, keen as mustard, I jumped at the opportunity to experience and share in the realisation of a professional play. So begins my journey into the unknown…

Rehearsals were held at Y Lloft, one of the iconic rehearsal / performances spaces that make up Chapter Arts Centre in Cardiff. An iconic space with the aesthetics and feeling of a high school gymnasium (which is what it probably functioned as when Chapter’s buildings were the old Canton High School), Y Lloft was to function as the rehearsal stage for the next three weeks of rehearsals. The small, wooden-floored anteroom at the rear of the space was set aside as the break-out room, containing an assortment of chairs and the all-important tea and coffee making facilities. On the first day of rehearsals, I was introduced to both the characters and the actors who were to play them; pragmatic and self-appointed deputy head of the household Audrey played by Emma MacNab, awkward, introverted and comical Roland played by Tom Hurley, innocent, mystical and trusting Ingrid played by Hannah Lloyd, curious and clinical Tim Dunn (the aforementioned unwitting doctor) played by Dean Rehman and the undisputed, slightly foreboding, magnanimous patriarch of the family, Hector Blavatsky, the man whose principles have forged and propagated the Blavatsky’s social isolation from the ‘crushed’ below, played by Tony Leader.

As a total novice, I was unsure of what role and function an assistant director played in the creative process. What did I have to do? Was I allowed to speak to the actors? Should I start making notes as to how people liked their tea and coffee? Fortunately, Peter and the rest of the cast put me at ease, stating that I was to be as much a part of the creative process as anyone else. During the initial rehearsals, I participated in the improvisation exercises designed to help the actors to develop their characters and helped in cataloguing and establishing the ‘facts’ of the play. Establishing the ‘facts’ shows us what we know to be definite within the world of the play i.e. what we know to be a fact. ‘Facts’ then allow for the establishment of a creative platform upon which subsequent decisions and interpretations of the play can be built. The right-hand of Y Lloft was soon starting to acquire small pieces of white paper, upon which were written facts pertaining to each of the five characters. We also created a timeline of the play, allowing us to theorise the dates of major events.

An important part (and much enjoyed aspect) of the rehearsals were the initial warm-up exercises, which involved the ‘ball game’ (which I have now concluded should be an Olympic sport). This involved balls of different colour being passed (or lobbed, launched or thrown in some cases) around the circle, with each ball having a different pattern. You had to be aware of who was throwing you the ball and who you had to pass it to – and you had to do that for four different balls! General hilarity, determination and competitiveness often ensued with the aim to keep the balls off the floor for as long as possible. It was a great group bonding exercise and one that I will definitely be sneakily using in the future (sorry, Pete).

Games aside, I also helped with script work, both being ‘on book’ for scenes, prompting the actors when necessary and rehearsing with actors when they were asked to practice or look over certain scenes. I was also tasked with keeping a record of the rehearsals, detailing what scenes were being looked at so that schedules for future rehearsals could be drawn up. On one day, I participated in a Twitter Takeover, which involved me ‘taking over’ 3Crate’s Twitter account and tweeting pictures and updates about the day’s rehearsal.

During the first week, I attended a meeting with Peter (the director), Nadia (the stage manager) and Rachel (the communications and marketing coordinator) regarding social media, press releases and general queries regarding the show. This gave me a valuable insight into the in-depth ‘behind-the-scene’ processes which an audience member may not normally dwell upon when viewing a play. They require organisation, hard work, determination, patience but above all, a great team of cast and crew to carry the play and this has certainly been realised with 3Crate.  The actors gel well with each other and the directorial style allows for detailed and in-depth analysis of the characters and the world of the play. It was a great experience to work on and be a part of. Definitely one for the diaries. Roland’s wisdom about the relationship between golf and the meaning of life are not to be missed. 

Check out 3Crate’s Facebook page, Twitter feed and website for more information about the company, the show and the dates of the tour.