In Conversation with Briana Brown and Rob Kempson on Co-Directing ROBERT at the 2018 Toronto Fringe Festival
Interview by Hallie Seline.
When finding out about Robert by Briana Brown, running at the 2018 Toronto Fringe Festival, I was very intrigued to find out that it was being co-directed. In a position that is so traditionally singular and with the current conversations around power dynamics in the rehearsal hall, I was eager to catch up with co-directors Briana Brown and Rob Kempson to discuss what drew them to share this leadership role, the value of artistic respect and trust in your directing partner, and the advice they would pass along to others wanting to explore this alternative directing structure.
Hallie Seline: Where did you get the idea to co-direct this piece?
Briana Brown: We both adjudicate at the high school NTS Drama Festival (formerly Sears) during the winter, and this year there seemed to be a number of co-directing teams. I was initially skeptical and asked them a lot of tough questions about their process and responsibilities, but in the end was wooed! Their experiences sounded so positive, and the logic made so much sense, I was really interested to experiment myself. Rob is the only person I could ever imagine doing this with, and I’m so happy he was game to try.
Rob Kempson: There are few people on this earth who I would ever consider sharing the role of director with; Bri is one of those people. So when she asked me to work on this piece with her, I knew I had to jump at the opportunity. She has such a brilliant mind and she is such an understanding and compassionate artist.
HS: What discussions need to happen before and during the process to make sure you both are on the same page?
RK: Luckily, Bri and I tend to share a brain. We actually joke about it often, because it’s scary how regularly we have the same thoughts at the same time. So while we have had a number of meetings throughout the process to make sure that we’re on the same page, we are almost always on that page. During shared rehearsals, we would take moments outside of the rehearsal hall to touch base, and decide who would be doing the primary communication with the actors. However, often during our notes sessions, we would have the same or similar notes, so it was pretty easy to give our notes together.
BB: I concur.
HS: What has been the benefit of having two directors on Robert?
BB: Reassurance. Directing can be such an isolating role, and under this model, you always have a partner. When I was feeling something wasn’t working, or I couldn’t figure something out, Rob was able to both validate my experience and often confirm he was finding it challenging too. We were then able to discuss potential solutions frankly, and vulnerably, in a way one wouldn’t do with designers and actors, because you need them to have faith that you have all the answers.
I also loved watching Rob work with the actors. It’s been a long time since I’ve been in an assistant directing role, which is the only time you’re really privy to watching a director work when that is the only thing holding your focus. I also knew exactly what our challenges were, which was not an insight I had when in those AD roles, and so it was fascinating to watch him work. I picked up a lot of things that I know I’ll integrate into my process going forward.
RK: I love watching Bri direct as well. She is so wise, and offers such unique insight in all of her work. Bri speaks to actors fully–meaning the weight of the piece as a whole infects every note she offers. It gives the actors such a great understanding of a moment in the context of the work as a whole. It’s brilliant, and so different than my standard practice.
More broadly, the major benefits of working together on this piece are related to authorship. Bri is not proprietary with her writing, and so she is open to making big directorial choices to compliment the words on the page. This means that when we rehearsed, we were able to play with big open minds. It has led to some inventive choices that highlight her brilliant words, and that I would have never thought of on my own.
HS: And on that note, have you come across any challenges in having two people leading the process?
BB: I’d love to hear an honest response from the actors about whether we were as in sync from their perspective, as we believe we were.
I also think knowing we were sharing the weight and responsibility sometimes slowed us down a little, mostly before going into rehearsal.
RK: I also think that we almost checked in with each other a little too much… as in, we felt like we needed permission before following an impulse. So it meant that we’d say yes and thank you and okay before even trying something to see if it worked in the first place.
HS: Would you say you each have specific strengths or blind spots that compliment each other in your work?
BB: In this particular iteration, Rob was great at noticing my blind spots as a playwright. He is more focused on physicality than I am, which was amazing to have in the room. We are, however, both exceptional choreographers.
RK: I think what Bri means is that I am a brilliant choreographer, and she is very limited in her appreciation of truly expressive movement.
HS: Have you learned some key lessons while co-directing that you’d pass on to others wanting to try this?
BB: We have known one another for over 10 years, and have worked together in a number of capacities, so entering into this we knew that we shared a number of core values when it comes to storytelling. I can’t imagine embarking on this under any other circumstances. You need to appreciate your co-director artistically, and trust them as a human. Ego doesn’t have a place in this process. If you’re directing because you like to be the All Powerful Voice in the room, you will end up in conflict.
RK: Ego cannot have a place in most true collaboration. But when you’re collaborating on the same job, it really cannot enter the space. Bri is so good at that, and I need to work on it. It’s good that I wasn’t able to be bossy all the time. It makes me a better artist, and ultimately, it makes this production better.
HS: Tell me a bit about this show Robert, on assembling your team and what you’re excited to share with Fringe audiences?
BB: At the core of this team is the group that put on Bad Baby: Rules Control the Fun at last year’s fringe. We’ve switched roles around a little bit, and we have invited some exceptional new artists into our process, including Rob.
RK: I’m excited about so many things: it’s site-specific, it’s funny, it’s a little dramatic, the venue is beautiful, Bri’s play is amazing, I’m co-directing a play that has my name as it’s title… etc. etc. Should I go on?
Company: Lark & Whimsy Theatre Collective
Playwright: Briana Brown
Directors: Briana Brown & Rob Kempson
Producer: Erin Vandenberg
Cast: Chris Baker & Janelle Hanna
Kat and James are waiting for their father to die. Not exactly estranged, but certainly not close, the two struggle to make conversation until James reveals the worst secret he possibly could. From the team behind the 2017 Fringe hit “Bad Baby”, Jessie-nominated playwright Briana Brown (Almost, Again) delivers laughs and heart in her new award-winning play about identity and loss. With a set of bagpipes.
Co-directed by Briana Brown & Rob Kempson (Maggie & Pierre, Mockingbird), produced by Erin Vandenberg (Salt), and featuring Janelle Hanna (Prairie Nurse, Bad Baby) and Chris Baker (Deadmouse: The Musical).
ST. GEORGE THE MARTYR
197 John Street
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