Going in the right direction: how to work with a stage director.

I tend to think of rehearsals as a set of negotiations--the singers negotiate with their gifts and limitations, their roles, each other; the stage director with the score, libretto, a brace of designers, and the singers; the conductor negotiates with all of the above, as well as, down the line, a whole orchestra. Ultimately, we will negotiate with an audience.

There are no rules. So, in such a lawless environment, what can help a singer, irrespective of age, to succeed? Well, to be honest, manners help. Being prepared helps. A sense of humor really helps. So does an ability to listen--to yourself as well as the conductor, the other singers, the stage director, the rehearsal pianist and the score--and an ability to see the other side of an idea (especially if it's mine).

Patience helps, too--and being open to change.

And, as the Boy Scouts will tell you, it helps to be prepared. Besides knowing your role musically, you will find it useful to have some ideas about the character, questions, thoughts--even if, after discussion, you choose, or are asked, to abandon some of them. These should be your thoughts, not your teacher's. It helps me to see who you are and what you think. I begin in-depth work on the character only when the actual performer is in front of me. I try to locate the essence of the role that is in you, try to point it out, help you edit or grow. I watch your body, listen to your voice--I become inspired by what you are, and by what you can comfortably do.

Another piece of advice: embrace change. The process of rehearsal is a rhythm of engagement and revision. It's called a re-hearsal, after all, and I like to think of the initial staging as a sketch for all of us to ponder and play with, instead of something that will be set in stone through run-throughs, dress rehearsals and opening night. It must be negotiable, at least if you're working with me, since planning out movement beforehand, before I watch you, is a waste of our time. Everything I stage is inspired by the actor, the singer, the music.

"But yesterday you wanted ..." Yes, I know. And today I can tell that you aren't going to look good doing what I asked you to do yesterday. You won't look your best, so let's try another way. The vision must be revised. "Do I really have to do...?" No, you don't. If you're uncomfortable with a piece of blocking, let's talk about an alternative. When I rehearse, all I'm concerned about is roughing out the staging as quickly and succinctly as possible, so that I can have something to look at, ponder ... and, of course, revise.

Much of my staging is based on what the performer brings to rehearsal. I watch and, pouncing, choose, ...