O R K I N G W I T H

A DIRECTOR
BY ZOE & MECHE
OVERVIEW
CHOOSING A DIRECTOR:
People you know
Taking applications
Being assigned
WORKING WITH A DIRECTOR:
Workshop/reading
Production
CHOOSING A
DIRECTOR
How do I find someone to help
my vision come to life?
 CHOOSING FROM YOUR NETWORK
Things to consider:
Style
Themes
Identity
Level of experience
Trust
TAKING APPLICATIONS
Go back to: Things to consider
Be upfront about what you NEED.
Reach out to people who can help
you promote your application
Use the free tools at your disposal
Include as much information as
possible, as conscicely as possible.
Collaborate with someone to help
you sift through and decide
Initially: Resume/Bio, Creative Vision/ Pitch
Then: Interview/ Pitch Deck
 BEING ASSIGNED:
SoMEtiMes, you have less control (ex:
you submitted to a festival and the
producers find the director for you)

Our Advice:
ADVOCATE FOR YOURSELF AND YOUR WORK!
Appreciate the opportunity of being paired with an
artist you might not have had the opportunity to work
with otherwise
Be conscious of what it means when you apply to a
festival, specific company and know when to step back
& step in
MECHE
Mercedes' work explores topics such as girlhood,
culture, sexuality, and language through diverse
formats that both disrupt traditional conventions
and celebrate the essence of theatre.

ZOE Zoe loves: horror, comedy, music, politics, and

pop culture, and hopes you see that in her work.

ISI
Since graduating in 2021, they have made it their
mission to champion stories that give black folks
the freedom to laugh, to cry and to breathe.
WORKING WITH
A DIRECTOR
How do I work with someone
who is a director?
WORKING WITH A DIRECTOR: WORKSHOP
What is the purpose of a workshop?
PLAYWRIGHT, YOU DECIDE!!!
Know your goals, intentions (closed reading v. public)

How much production does it take to get the feedback you need?

Other:
Table for Two
Reading by Akosua
Amo-Adem

Gringas (2023 reading) SNL: Lisa from Temecula

WORKING WITH A DIRECTOR: PRODUCTION
Conversations I like to have early on:
What is the playwright’s intention with the piece? Maybe
with specific scenes? What is the tone of the piece?
Specific scenes?

With NEW PLAYS, it IS focused on the text. It’s about doing

the text justice.

You have to remember that you’re the playwright.

If you have VERY VERY specific views for the production,
you’re not letting the director do their job.
MISC:
Writing: Stage Directions
Again, it’s about what you NEED the play to
have.
Don’t feel like you’re not giving enough
information, your focus is the TEXT.
Be open to new things director (and actors, and
designers may bring to the piece)
A Streetcar Named Desire by Tennessee Williams
Appropriate by Branden Jacobs-Jenkins
Gringas
ANY QUESTIONS?!