If they haven’t learned their roles by heart, I’ll send them back where they came from. I don’t have time to study the script with them. This isn’t a kindergarten.
CONSULTANT: I’ll pour you a cup of coffee anyway.
DIRECTOR: To hell with your coffee…
MAN enters. He is somewhat older than middle age, wearing a well-tailored dark suit.
MAN: Good evening.
DIRECTOR: At last you delight us with your presence.
MAN: Sorry, I’m a little late…
DIRECTOR: I don’t accept apologies. If you don’t value your own time, at least respect the time of others.
MAN: I’m a very busy person. Is that so hard to grasp?
DIRECTOR: I’m busier than you are, let me assure you. But I arrived on time, although every second’s precious to me. At this moment, hundreds of people are working on the show under my leadership, and everything will collapse without a clear-cut schedule. If I accept an apology from everyone instead of getting the work done, we’re in for a failure tomorrow.
WOMAN rushes in. She’s beautiful and dressed in a bright, provocative outfit. She’s trying to hide the fact that she’s tipsy.
WOMAN: Good evening. (Guilty) It seems I’m late.
DIRECTOR: To quote Hamlet: “Seems,” madam? Nay, it is. I know not “seems.”
WOMAN: (baffled) What are you talking about?
DIRECTOR: About you being late and me not putting up with it.
WOMAN: It just turned out this way. I don’t know why.
DIRECTOR: If anything else “just turns out” with you, nothing’s going to turn out for us. Is that clear?
CONSULTANT: Maybe we should start the rehearsal?
DIRECTOR: Are you giving me advice already, sweet cheeks?
CONSULTANT: But they’re here, they’ve apologized.
DIRECTOR: So sit quietly, and not another peep out of you. I want everyone to understand here and now: without iron discipline, we won’t get anywhere. My time’s very limited. Everyone has to obey me implicitly. I won’t tolerate any superstar-itis. I hope that’s clear to everyone.
Silence
Fine. Now, without wasting another minute… (looks at his notebook) The first to speak is our leading lady. The rest will sit quiet and stay out of it. (to WOMAN) Are you ready?
WOMAN: In a minute. I’m just going to make a call.
DIRECTOR: No calls! Everyone, turn off your phones!
WOMAN: I’ll be quick. It’s very important.
DIRECTOR: Nothing can be more important than this rehearsal.
WOMAN: Oh, all right. (puts the phone away)
DIRECTOR: I seem to recall asking if you’re ready.
WOMAN: Yes.
DIRECTOR: So begin. Come forward… By the way, why are you dressed like that? I asked everybody to report in costume.
WOMAN: I didn’t know we had to.
DIRECTOR: Get this into your head: everything I say, you have to do. Got it?
WOMAN: Yes.
DIRECTOR: Fine. You were supposed to come in full costume so you could get used to it, get comfortable in it, feel that it’s yours. But the most important thing is that it helps you to create the right mood.
WOMAN: I was afraid to stain or crush it.
DIRECTOR: Then the least you could have done is figured out that you needed to wear something a little more somber than that. You’re going to be portraying profound sorrow, while your skirt is, sad to say, barely hiding what’s not usually displayed in broad daylight. True, it’s almost night by now. Anyway, do you even have a skirt on?
WOMAN: Don’t you see it?
DIRECTOR: Almost.
WOMAN: But you’re taking a close look, aren’t you?
DIRECTOR: I’m afraid that if I look closely, I’ll see too much.
WOMAN: This is what people are wearing these days.
DIRECTOR: OK. Let’s not waste any more time talking. As they say in the theater, you’re on.
Pause. WOMAN obviously doesn’t know what to do.
So why are you standing there like a pillar of salt?
WOMAN: You didn’t tell me what to do.
DIRECTOR: First of all, step forward and face the audience.
WOMAN doesn’t move.
Well? What’s the problem now?
WOMAN: I don’t know how I’m supposed to walk.
DIRECTOR: You don’t know how to walk? Do you need to be taught that too?
WOMAN: I meant, quickly and energetically or the opposite – slowly?
DIRECTOR: Of course slowly. Do what Stanislavsky – he was a theatrical genius, you know – said, and let yourself sense what’s needed. Meaning that it all has to be done slowly and sadly.
WOMAN: Where’s the audience?
DIRECTOR: The audience is me.
WOMAN goes to stage center and again stands silent.
You have a rare gift, dearie. I love silent women, but silence isn’t always golden. Begin, before we’re too old to care!
WOMAN: One minute… (quickly trots back to her purse, opens it, takes out some sheets of paper, unfolds them, and again returns, slowly and sadly, to stage center.)
DIRECTOR: What’s that?
WOMAN: (guilty) My lines.
DIRECTOR: (exploding) What? You haven’t learned your lines yet? You undisciplined, disorganized… I refuse to work with you! Are you going to speak from a script tomorrow?
WOMAN: What if I do? We all speak from scripts.
DIRECTOR: That’s what you do. With me, you’ll speak without one, or we’re done. Your words should be born of feeling, not from a cheat sheet.
The seated MAN hurriedly takes some pages out of his pocket and starts learning his lines.
WOMAN: I’ll have it down by tomorrow.
DIRECTOR: And you think I believe you? Are you even capable of learning anything, never
