Directing in Musical Theatre

Joe Deer is Distinguished Professor of Musical Theatre and Director of The Musical Theatre Initiative at Wright State University. He has directed off-Broadway, in top regional theatres across the US and at many of the finest educational institutions in the world. His first book, Acting in Musical Theatre: a comprehensive course (co-author, Rocco Dal Vera) is also available from Routledge.

• Table of ContentsForeword by Eric SchaefferIntroductionHow To Use This BookPhase One: ConceptionTimetable One: Preparation Chapter One: Preparing for CollaborationUnit 1.1 Reading and listening to the Musical Unit 1.1.1 Gathering ImpressionsQuestionnaire: First ImpressionsUnit 1.2 Creating a Research PortfolioUnit 1.3 History and Society Viewed SelectivelyUnit 1.4 TraditionUnit 1.5 Dissecting the Script and ScoreUnit 1.5.1 Units of ActionQuestionnaire: Unit AnalysisUnit 1.6 Character AnalysisUnit 1.6.1 FactsQuestionnaire: Character Given CircumstancesUnit 1.6.2 Character JourneyUnit 1.6.3 Charting ChangeUnit 1.6.4 AttitudesQuestionnaire: Character AttitudesUnit 1.6.5 AmbitionsQuestionnaire: Character AmbitionsUnit 1.7 Directing and StyleUnit 1.7.1 What Is Style?Unit 1.7.2 Establishing Style in Your ProductionUnit 1.7.3 Unity of StyleUnit 1.7.4 History and GenreUnit 1.7.5 WorldviewQuestionnaire: Defining WorldviewUnit 1.7.5 Articulating StyleQuestionnaire: Elements of StyleUnit 1.8 Visiting the Performance SpaceUnit 1.9 Getting It Down On Paper - Creating a Concept Statement Unit 1.9.1 This Is The Story Of …Unit 1.9.2 Themes and IdeasUnit 1.9.3 Images and Visual StyleUnit 1.9.4 State Your PassionChapter Two: Imagining The ChorusUnit 2.1 What is a chorus?Unit 2.2 Populating the world of your musicalUnit 2.3 The power of the groupUnit 2.4 Applying PressureUnit 2.5 Chorus as StorytellerUnit 2.6 Chorus as SpectacleUnit 2.7 Chorus as CharactersUnit 2.8 Engaging Chorus ActorsPhase Two: CollaborationTimetable: Phase TwoChapter Three: Creative CollaborationUnit 3.1 The Passionate CenterUnit 3.2 What is a Choreographer?Unit 3.3 Theatre Dance vs. Concert DanceUnit 3.4 Musical CollaborationChapter Four: Directing the Design Unit 4.1 Design Process: SceneryUnit 4.1.1 Scenic Design PreparationQuestionnaire: Scenic DesignUnit 4.1.2 What to Expect in the Scenic Design ProcessScenic Design Process for Big RiverUnit 4.2 Design Process: CostumesUnit 4.2.1 Character Analysis for Costume DesignUnit 4.2.2 Practical RequirementsUnit 4.2.3 Cast by Scene Breakdown Unit 4.2.4 What to Expect in the Costume Design ProcessGregg Barnes’ Costume Design Process for The Drowsy ChaperoneUnit 4.3 Design Process: LightingUnit 4.3.1 What to Expect in the Lighting Design ProcessNatasha Katz’ Lighting Design Process for FolliesUnit 4.4 Budgets and Creative LimitsChecklist: Effective DesignPhase Three: RehearsalTimetable Three: Auditions to Final Studio Run-ThroughChapter Five: AuditionsUnit 5.1 Casting BreakdownsUnit 5.2 Principal Role AuditionsUnit 5.3 Chorus CallsUnit 5.4 Addressing Multiple Casting NeedsUnit 5.5 Non-Traditional CastingUnit 5.6 Negotiations and WaitingChapter Six: Staging and Coaching Unit 6.1 Staging StoriesUnit 6.1.1 Levels of StagingUnit 6.1.2 Staging QuestionsQuestionnaire: Staging ActionUnit 6.1.3 Believable Spontaneity and InevitabilityUnit 6.1.4 Types of Musical NumbersUnit 6.1.5 Prompts to Staging OpportunitiesUnit 6.1.6 Staging StructureUnit 6.1.7 Storytelling Through Staging Unit 6.1.8 All Staging is ActionUnit 6.1.9 Storytelling – Beat-by-beatUnit 6.1.10 Group Staging Notation‘I Wanna Be A Producer’ from The Producers Unit 6.1.11 Choreographic StagingUnit 6.2 Staging ToolsUnit 6.2.1 Movement and Images Unit 6.2.2 Principles of Effective BlockingUnit 6.2.3 Compositional Qualities Unit 6.3 Blocking Scenes and SongsUnit 6.3.1 Blocking Script Set UpNext to Normal scene/song blocking scriptUnit 6.3.2 Ideas Into ActionUnit 6.3.3 Blocking Notation Unit 6.3.4 Giving Blocking to ActorsUnit 6.4 Coaching Your CastUnit 6.4.1 Actor/SingersUnit 6.4.2 10 Keys to Coaching the Singing ActorUnit 6.4.3 Dancers are actors, tooUnit 6.5 Entertainment Values and ‘Selling It’ To The AudiencePhase Four: ProductionTimetable: Phase FourChapter Seven: Moving Into The TheatreUnit 7.1 Getting acquainted with the spaceUnit 7.2 Spacing Rehearsals and AdjustmentsUnit 7.3 Safety FirstUnit 7.4 Adding Scenery and PropsUnit 7.5 Adding LightingUnit 7.6 Adding OrchestraUnit 7.7 Sound Design and ReinforcementUnit 7.8 The Stage Manager Takes Charge – Technical RehearsalUnit 7.9 Adding CostumesUnit 7.10 CrewUnit 7.11 Special RehearsalsUnit 7.12 Putting It All Back TogetherUnit 7.13 Finding The Heart of the show againUnit 7.14 Prioritizing and Problem Solving Unit 7.15 "Please" and "Thank You"Phase Five: PerformanceTimetable: Previews to ClosingChapter Eight: Shaping the ProductionUnit 8.1 Curtain CallsUnit 8.2 PreviewsUnit 8.3 Advice and OpinionsUnit 8.4 Opening NightUnit 8.5 Notes and Rehearsal After OpeningUnit 8.6 Post MortemChapter Nine: Etcetera – And All The RestUnit 9.1 Directing New WorksUnit 9.2 Directing RevuesUnit 9.3 Habits of Successful DirectorsAppendicesAppendix A: Sample Documents Weekly Rehearsal Schedule – Seussical Daily Rehearsal Schedule – Carousel Blocking/Staging Checklist – Seussical Cast-by-scene Breakdowns – Nine Scene and Song Rehearsal Unit Breakdown – Kiss Me, Kate Concept Statement – Into The Woods Scene/Song Unit Analysis – Fiddler On The Roof Character Analysis (short) – The Light In The Piazza Staging Roadmap (Beat Breakdown) – ‘The Night Waltz’ from A Little Night Music Appendix B: Complete Production TimetableAppendix C: Blank Questionnaires First Impressions Unit Analysis Character Given Circumstances Character Attitudes Character Ambitions Defining Worldview Elements of Style Scenic Design Staging Action Checklist: Effective DesignAppendix D: A Brief Glossary of Useful Stage Terms

'This will be an essential handbook for anyone faced with the challenge of directing a musical. Deer writes from a wealth of experience in directing, and a thorough knowledge of the musical theatre repertoire.' – Dominic Symonds, University of Portsmouth, UK 'Directing is a somewhat ‘ethereal’ job – those who do not do it have a hard time articulating what it is we exactly do as Directors. I think this book is both practical, but asks the right questions so that directors do not merely ‘replicate’ another show.' – David Gram, Director, Dramaturg, Actor & Teacher, USA'Finally! A step-by-step handbook on how to direct musicals. Joe Deer’s Directing In Musical Theatre is the perfect book for aspiring and experienced directors alike. The craft of directing can be quite mysterious, but as Joe masterfully tells it, with thoughtful insight, extraordinary detail and great passion, the director’s role becomes vividly clear. This book is sure to become a valuable resource for anyone working in the theatre.' – Marcia Milgrom Dodge, Tony Award Nominated Director & Choreographer, RAGTIME'A terrific analysis of how to mount a musical. From reading the script, right up to opening night, Joe Deer's insights are practical and inspiring.' – Walter Bobbie, Tony Award winning Director, CHICAGO 'Joe Deer's book is an eloquent and accurate analysis of what a director in the musical theatre actually does. He understands the many components of a musical and how to coordinate and integrate them. I highly recommend it to anyone contemplating directing a musical.' – Jerry Zaks, Tony Award winning Director, GUYS AND DOLLS and SMOKEY JOE’S CAFÉ'Directing In Musical Theatre is a splendid text for anyone wishing to explore directing for the musical stage. It deals with every essential aspect of this daunting task, and explains each with singular clarity and intelligence. The work is well organized, thorough, and completely accessible. Finally, here is a book that gets to the heart of this art.' – Gregory Lehane, Professor - Former Head of Directing, Drama and Music, Carnegie Mellon University 'Joe Deer's Directing in the Musical Theatre is a well-informed exploration of the musical theatre directing process that is filled with heart, intellect and spirit. If every director was required to read the chapter on staging alone, we would be blessed with productions more truthful, entertaining, and ultimately satisfying. This book, which equally balances craft with artistry, will be helpful to beginner and seasoned veteran alike.' – Cary Libkin, Professor, Head Of Musical Theatre Degree Programs, Penn State University