Give Props to the Person Who Directed Your Show
- Thread starter El Jefe
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Nick Kroll currently directs GameFace. While there are many great things about him, I enjoy his directness in getting to the problem with a sketch and the hilarious additions he suggests.
Although he is probably currently involved with about 29 projects, Will Hines directed both Your Favorite Thing shows and helped Neil Casey and I become names that people on this message board can connect with a face or utterance. He's excellent and dedicated.
--joe wengert
Although he is probably currently involved with about 29 projects, Will Hines directed both Your Favorite Thing shows and helped Neil Casey and I become names that people on this message board can connect with a face or utterance. He's excellent and dedicated.
--joe wengert
you will not find a more dedicated sketch director in new york than dustin d'addatto, and he's skeeger's, so step back.
but, seriously, dustin will go to lengths in terms of time and dedication that i have never seen another director in any medium go to.
it also helps that his notes are spot on, he can edit video and he's got a huge penis.
but, seriously, dustin will go to lengths in terms of time and dedication that i have never seen another director in any medium go to.
it also helps that his notes are spot on, he can edit video and he's got a huge penis.
Kevin Scott directs The Royal We's sketch shows and he is the best, bar none.
Was he in the Second City Touring Company? Oh yeah.
Was he in Burn Manhattan and Centralia? Oh yeah.
Has he won a FringeNYC award for directing? Oh yeah.
Did he direct Harold Teams at the UCB long, long ago? Oh yeah.
Is our work infinitely improved by his input and direction? Absolutely.
Kevin is big on the truth of the moment, having meaning in scenes, and saying something new with styles and situations. He brings all the physical intensity of the Burn Manhattan improvisation style (think Johnny Lunchpail) and the smarts of The Second City style. He's at his best when he's involved early enough to have some input on the shape of the content.
Music/video/sound/lighting design? Yeah, he rocks the house there, too. But he really clarified the voice of our work, and I think that's the most important thing a director can do.
Was he in the Second City Touring Company? Oh yeah.
Was he in Burn Manhattan and Centralia? Oh yeah.
Has he won a FringeNYC award for directing? Oh yeah.
Did he direct Harold Teams at the UCB long, long ago? Oh yeah.
Is our work infinitely improved by his input and direction? Absolutely.
Kevin is big on the truth of the moment, having meaning in scenes, and saying something new with styles and situations. He brings all the physical intensity of the Burn Manhattan improvisation style (think Johnny Lunchpail) and the smarts of The Second City style. He's at his best when he's involved early enough to have some input on the shape of the content.
Music/video/sound/lighting design? Yeah, he rocks the house there, too. But he really clarified the voice of our work, and I think that's the most important thing a director can do.
Eric Appel is the shit, bitches.
Y'all do not know about Eric Appel. Eric Appel will cut all the bullshit out of your show, and polish it 'till it gleams. He will make your show about 80 times more professional than it was when you brought it to him. He is, simply put, the hardest working man in show business at the UCB. He puts in the hours.
Thanks, E-Rock.
Y'all do not know about Eric Appel. Eric Appel will cut all the bullshit out of your show, and polish it 'till it gleams. He will make your show about 80 times more professional than it was when you brought it to him. He is, simply put, the hardest working man in show business at the UCB. He puts in the hours.
Thanks, E-Rock.
I second JoeDub's props on Nick directing gameface. He's funny, smart and good judge of how an audience will receive a given piece. Plus he can appreciate comedy of all speeds.
Every director I've had is too busy to do anything. But here's the first two people I'd ask to if I needed a director right now (don't even know if they're interested):
1) Chris Kula -- great writer; great analyzer; he worked with Rob Lathan and I on lots of bits for The Osgood-Schlatter Show (showcase type of show) and was super-smart, super-fast and on goddamn point! Plus PCR's show was fucking great and was probably a great sketch school in and of itself.
2) John Gemberling -- He's the funniest guy at UCBT, a precise writer and a careful, delibreate actor. No one has tapped him for a director, maybe because he never did laundry for all of 2002. But I bet he'd be great.
Every director I've had is too busy to do anything. But here's the first two people I'd ask to if I needed a director right now (don't even know if they're interested):
1) Chris Kula -- great writer; great analyzer; he worked with Rob Lathan and I on lots of bits for The Osgood-Schlatter Show (showcase type of show) and was super-smart, super-fast and on goddamn point! Plus PCR's show was fucking great and was probably a great sketch school in and of itself.
2) John Gemberling -- He's the funniest guy at UCBT, a precise writer and a careful, delibreate actor. No one has tapped him for a director, maybe because he never did laundry for all of 2002. But I bet he'd be great.
I third Nick Kroll as a great director. He has been amazing for Game Face. It's been a lot of fun working with him. And everything Joe and Will said was right on the money. He adds great ideas to your sketches.
Also, Owen Burke directed my first ever (non-improv) show called John 3:16 (also starring John Gemberling, Will Hines and Brian Berrebbi). Owen pretty much carried that show on his back, getting all components ready (music and light cues, VHS tapes edited, lines memorized, costumes and props gathered), as well as adding in some great ideas. The whole experience was truly awesome.
Also, Owen Burke directed my first ever (non-improv) show called John 3:16 (also starring John Gemberling, Will Hines and Brian Berrebbi). Owen pretty much carried that show on his back, getting all components ready (music and light cues, VHS tapes edited, lines memorized, costumes and props gathered), as well as adding in some great ideas. The whole experience was truly awesome.
I'm one of the lucky ones who has Anthony directing their show and he is indeed awesome.
Chad Carter is wonderful at adding great ideas. And I'll forever be thankful to Fogelnest for really getting us to cut down our sketches. Sounds like a small thing, but that's where I've learned the most.
I would go to one of these people next (next as in people who I haven't been directed by yet):
Chris Kula: What Will said about him, he's a really great analyzer and writer. And while PCR was director-less, Kula just being in the group always had me at ease.
Charlie Todd: "Guttenberg!" was just one of the best directed shows I've ever seen. He's really awesome at seeing where things are going right and wrong in a sketch and helps you get on track.
Angeliki George: Has really, really great ideas and so damn supportive. She's awesome at making things come together (ie transitions, etc)
Chad Carter is wonderful at adding great ideas. And I'll forever be thankful to Fogelnest for really getting us to cut down our sketches. Sounds like a small thing, but that's where I've learned the most.
I would go to one of these people next (next as in people who I haven't been directed by yet):
Chris Kula: What Will said about him, he's a really great analyzer and writer. And while PCR was director-less, Kula just being in the group always had me at ease.
Charlie Todd: "Guttenberg!" was just one of the best directed shows I've ever seen. He's really awesome at seeing where things are going right and wrong in a sketch and helps you get on track.
Angeliki George: Has really, really great ideas and so damn supportive. She's awesome at making things come together (ie transitions, etc)
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Eric Davis
Eric Davis directed my one person show and I highly recommend him. He took my script from a simple story to a full blown show. He's fantastic at getting the audience involved and interested in what you have to say. He's also super experienced. He's been working with and teaching clown for over 12 years!!! He really brings a fresh perspective to your piece and he is a joy to work with. I can't recommend him enough.
-Stacy
Eric Davis directed my one person show and I highly recommend him. He took my script from a simple story to a full blown show. He's fantastic at getting the audience involved and interested in what you have to say. He's also super experienced. He's been working with and teaching clown for over 12 years!!! He really brings a fresh perspective to your piece and he is a joy to work with. I can't recommend him enough.
-Stacy
I second the Dipper on Angeliki George.
When she directed Eric Scott and I in JACKPOT, she was dedicated and hard working with amazing ideas and a sharp focus on bringing out that there truth in comedy. She made Eric and I look way better than we actually are, but especially Eric.
Also Chad Carter has been kind enough to visit and give notes on two projects I've been involved in and he's always incredibly insightful and a big help.
When she directed Eric Scott and I in JACKPOT, she was dedicated and hard working with amazing ideas and a sharp focus on bringing out that there truth in comedy. She made Eric and I look way better than we actually are, but especially Eric.
Also Chad Carter has been kind enough to visit and give notes on two projects I've been involved in and he's always incredibly insightful and a big help.
Belated props to Chris Kula:
I just finished two tech rehearsals with him as director, one that ended at 3 am on a Thursday and another that started at 10 am on a Sunday. I left both rehearsals surprisingly uncranky... and that was the direct result of Kula's patience, preparedness, and (I'm gonna say this even though it sounds pretentious) clarity of vision.
Plus he has a great ability to articulate what works and doesn't about a sketch.
Thanks, Kula.
I just finished two tech rehearsals with him as director, one that ended at 3 am on a Thursday and another that started at 10 am on a Sunday. I left both rehearsals surprisingly uncranky... and that was the direct result of Kula's patience, preparedness, and (I'm gonna say this even though it sounds pretentious) clarity of vision.
Plus he has a great ability to articulate what works and doesn't about a sketch.
Thanks, Kula.