The Interwebs might be fun, but for a writer, there’s nothing like a good old fashioned print edition––hence my excitement at the January’s American Theatre magazine, which ran a feature article I wrote on assisting in the theatre. The story is excerpted below, but you can download a full PDF HERE, or read a (sadly picture-free) web version HERE.
Or you could, you know, read the print edition. But why be all 1999 about it?
I Get a Sidekick Out of You
It’s 10:30 on a wet October morning in New York City, and the south rehearsal room at Playwrights Horizons is starting to hum. Trickling into the windowless hall are actors, designers and administrators who shake off the rain, graze at the festive snack table—it’s almost Halloween—and exchange familiar “hellos.” Today is the first rehearsal of Jordan Harrison’s Maple and Vine, initially seen at last year’s Humana Festival and now making its New York premiere under the direction of the prolific Anne Kauffman (Stunning, This Wide Night, God’s Ear).
By the time Ilana Becker rolls in, the room’s almost full. Goofy, quick to laugh, alternately focused and irreverent, Becker is Kauffman’s petite, brown-haired assistant. Becker has already attended some prep meetings for Maple and Vine, but as she notes her spot at the rehearsal table—close to Kauffman, naturally—it’s impossible not to sense her first-day excitement.
As an assistant, 28-year-old Becker belongs to a breed of unknown yet well-connected young directors, adjuncts to some of the theatre’s most important figures. An assistant director’s work can be mundane (buying salads) or creatively significant (suggesting cuts), but it always involves some interpersonal sixth sense, a faculty for knowing what directors need or don’t need, preferably before they do. Ideally, assisting is a chance to observe and help a master at work. Practically, it’s the clearest way for a young director to get her foot in the door….