REFLECTIONS

These notes were made after the completion of my first venture into directing for theatre. In particular it records how the production evolved and contains thoughts on the casting process from a directors point of view. "Reserved Seating Only" opened at Melbourne's La Mama prior to Christmas 1999 and had a very successful two week season. On some nights we crammed an audience of 60 into a space more comfortably designed for 35 - 40.

Richard Sarell

The Adventure into Theatre

In January 1999 Cecelia Specht and David Paterson sat side by side in my living room, one sunny summers afternoon and read to me a play Cecelia had brought from New York. It was written by Peter Sonenstein and was originally set at a baseball match. David had adapted the story to Australian Rules Football.

The reading made me smile. Despite the fact that the play did not have a clear and purposeful end, three things were evident - it had a beginning, it was engaging and it was entertaining.

Two actors creating work - initiative and energy.

They both wanted to generate an opportunity to act but to achieve this were also willing to be Producers.

But, it all takes time.

It was the end of October when the 'phone rang. Was I available to direct the play, now re-titled "Reserved Seating Only", for a December 2nd opening at Carlton's 35 seat La Mama Theatre? My television contracts for the year were complete - the timing was impeccable.

The only unexpected element was that David having acquired a role in the Southern Star television production of "On the Beach" was not available to play the character of Al. Cecelia was still to play Trina.

Re-Casting
Decisions needed to be made.

I compiled a list and talked it over with David, Cecelia and Melbourne Casting Agent Bernadette Ryan. She suggested a couple more names including Ross Williams. Recognized in recent years for regular appearances in television sketch comedy shows Ross was known both to Bernadette and myself as a fine dramatic actor. He was also a dedicated footy fan. A longtime "BOMBERS" supporter!!! David in adapting the play, ignoring his own Geelong "CATS" allegiance, had chosen to set the piece at the Essendon "BOMBERS" first game of the season!

Despite these synchronistic circumstances and the fact that Ross was known to me I still decided to conduct auditions. The casting process is crucial. The most obvious choice is not necessarily the best. There is an indefinable and sometimes unpredictable "chemistry", "magic" or "energy" between actor and character, actor and story, actor and actor and of course actor and director. The audition process explores these possibilities.

I was tentative about ringing Ross. It was a 'co-op' production with little hope of financial return. Asking an experienced actor to compete for the privilege of giving up seven weeks of his life seemed a little excessive. However Ross enthusiastically accepted the offer to audition.

Two other actors were on our list of auditionees but only one of them was available at the nominated time. This created an added complication. If no one seemed right it would be at least another week before we could complete our audition process and start rehearsals. Although this was not impossible it would leave little room for actors to take time-out if paid work materialized during the rehearsal period. These pressures can generate stress and undermine a relaxed and productive rehearsal process.

The Audition
Ross and I arrived at the hall simultaneously. He, obviously by public transport. As I sat in my car watching him butt his cigarette before crossing in to the lion's den I reflected for a moment on the difference between the actor and director's lot.

• At this stage the director has a job while the actor is still hoping for one.
• The director is facing the interesting possibility of examining what unfolds while the actor is confronting the responsibility of performing successfully.
• The director never has to audition while the actor seldom is given a job on the merits of a previous performance
• For the director, auditions are the beginning of an on-going and exciting process for the actor it might be the end of one
• The director has some idea of what they are seeking from the actor but the actor has no idea of what the director wants from them

I remind myself that the first aim in an audition is to makes sure the actor feels they have had the opportunity to do their best.

Is Ross nervous? He is such an experienced campaigner it is not possible to tell.

Ross' audition was very good. It didn't immediately deliver "the character". But it did deliver a variety of options. He offered interesting low and high status possibilities. These started me thinking about a variety of new parameters. It also established that we could talk. He did respond to direction although interestingly not to all my suggestions and this managed to establish that we could comfortably negotiate our differences.

In addition, if this play was to be about people reconciling their differences then Ross and Cecelia certainly gave a strong visual impression of two distinctly different people.

The Decision
Cecelia, David and I discussed the outcome of the audition at length. In time we all agreed that Ross was an interesting choice. Cecelia's input was mostly as actor rather than Producer. David, more the Producer, suggested that there might be the additional benefit of extra publicity because of Ross' recent television connections. In the end however, I decided to sleep on the decision. Rushing into important choices is foolish when there is time available for reflection.

Rising early the next morning I sat down to read the script again. The main reason for this was that if rehearsals were to start in a few days I needed to clarify a view of the story and an approach to the rehearsal period - for people would soon begin asking questions about this.

Other than a quick skim to decide which section we would use for the auditions I had not read the script properly since January. Structural problems needed addressing and these issues now deserved serious consideration. In fact this phase of the process was a somewhat overdue.

It wasn't until I had completed my read and formulated the plans for the ultimate performance structure of the piece that I realized - "throughout all this process I had envisaged Ross in the role of Al".

No-one else.

Just Ross.

The casting decision had made itself.

Being a Sunday morning I delayed ringing David and Cecelia to confirm my decision until a reasonable hour and of course by the time I did get to the phone they had gone out for the day. It was quite some time before the news finally was delivered to Ross. By then of course he had decided that the part had most probably been given to someone else. The anxieties of being an actor!

And so, the next week rehearsals commenced.

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