It has been relatively easy over the years to learn from great directors. Seldom have I been made to feel foolish. Some of the best direction I have ever received has been extremely brief but totally illuminating.

The three top directions I have received are as follows;
(And not always from the Director, I might add!)

1. “Play it like you love her”
Director in a Sydney radio drama

2. “Play it like your whole world has just collapsed”
The prop man backstage at the Comedy Theatre Melbourne

3. “I could see you doing it”
TV drama Director in UK

No.1 was said by one of the greatest directors I have ever worked with, John Saul. An accomplished actor he became a director in Sydney radio just after WW 2. He passed my Lux Radio Theatre audition and I was soon cast as Pip in a radio version of ‘Great Expectations’, adapted from the UK film script. Years later I was starring in a half-hour radio play based on the script of a powerful New York TV production. We used to rehearse and record the first quarter hour then rehearse and record the second quarter hour. I gave my first quarter hour reading as if I hated my mother. John’s instruction “Play it like you love her” was brilliant. I said all the harsh things to her but really loved her deeply, an exciting difference.

No.2 was said by Norm the prop man backstage at the Comedy Theatre in Melbourne during the run of ‘Simon and Laura’ starring Googie Withers and John Macallum. I had a wonderful role, that of the TV director in the story. The play received rave reviews and we were booked out for the season. Everything worked well for me except my first scene in Act 3. Sometimes I used to have a quiet chat to Norm behind the set waiting for my cue to enter while he was organizing his props for a coming scene. I quietly confessed I was worried about my first scene in Act 3.

That’s when Norm suggested the “whole world collapsing” thought. I had almost no time to consider this except for about four paces to the door through which I had to enter. The effect was magical. My problems with the scene had gone. I discovered that Norm was a regular at the great Hayes Gordon’s between shows discussion groups and a real student of the theatre.

No.3 came from Christopher Morahan one of England’s top award winning directors. But he was a floor manager with us on the early episodes of “Emergency Ward 10” in which I played one of the leads and which soon became UK’s top show. The success of the show meant Christopher was promoted to the job of directing. I used to quote John Saul to him all the time particularly about John’s passion for truth in performance. In one episode my character became very involved in a sad situation involving another doctor. It was quietly but beautifully written and very moving to read let alone play. We did what we called “the dress run” before going to air live at 7.30pm. I felt really on top of the scene. But Christopher came out of the control room and said, shaking his head slightly, “I could see you doing it”. I suddenly clicked into gear and from then on I only thought about what my character was thinking and inwardly playing the actual thoughts. The difference was huge, with phone calls from all over the country and a great reaction from the crew when the last of the credits rolled up and we were off the air. And it was confirmation for me of the wisdom I had been exposed to in Sydney by the great John Saul.

I would love to hear who you consider to be some of the best Directors or Actors that best interpret the mood required by the script?