By Michelle Shortall and Albert Lightstone
This week I had the pleasure to sit down and chat with my friend and fellow OLT Board member Michelle Shortall. We always have the most interesting conversations, and usually a quick telephone call about one question results in an hour-long talk about all sorts of things related and unrelated.
Let’s start with the age-old question and the subject of this blog’s title. The acronym AD – does it stand for Assistant Director or Assistant to the Director?
Well, both actually. It was used interchangeably over the years with one term having more of a production focus. And let’s not bring the Associate Director into the mix which is another AD. As of the current 110th season, AD stands for Assistant to the Director. Regardless of the definition, it is an important and integral part of the production team and, for me personally, a lot of fun.
So while the director is the creative brains behind the play, the AD is the administrative, financial, organizational, and nurturing person within the play. A small responsibility. What does the AD do exactly?
All shows are different, but generally the AD starts their ‘work’ in advance of rehearsals by assisting the director in preparing for auditions, creating a calendar and, once the show is cast, preparing a contact list for all cast and crew. Once rehearsal begins the AD handles administrative issues surrounding a show including managing the budget, ensuring all cast/crew are aware of the theatre’s policies and traditions, collecting information for the programme and, arranging for headshots/show photos/video. During rehearsals, the AD takes blocking and production notes. Once the show opens, the AD arrives in the Green Room early to have coffee/tea/snacks available for all before the show opens. The cast/crew become quite close and we like to have socials, particularly on Friday nights during the run of the show, so the AD often helps organize and set up for the parties.
Let’s get a little background on you. Where did you hail from? Educational background? What did you do for a living? When did you retire?
I am originally from Gananoque. After high school I moved to Kingston, attended business college and my first full-time job was working for the Ontario Ministry of Education. After a year there, I applied to the Federal Government and was offered a job with the Royal Canadian Mounted Police, retiring after 32 years. I then went on and worked for the Police Sector Council for another 8 years, finally retiring in March 2013.
How did you get involved in the theatre?
I met Geoff Gruson around 2000 when he came to work at the RCMP. He was involved with the OLT, and hearing all about the theatre, I started coming to productions. In the 2005/06 season a friend, Bev Carson and I, took out a subscription and have been patrons every since.
After I retired Geoff asked me what my plans were for all my ‘free time’ and suggested I volunteer at the theatre, and I have never looked back. He was directing The Murder Room in 2016, and asked if I wanted to try my hand as an AD. I knew nothing about the role so Venetia Lawless spent time with me explaining the various ‘duties’. After The Murder Room, we have worked together on Other Desert Cities, Dead Accounts, Unnecessary Farce and Witness for the Prosecution.
Have you worked for any other directors?
Yes, I have been fortunate to work with Venetia Lawless (Move Over, Mrs. Markham) Venetia Lawless/Nicky Milne (A Murder is Announced), Joan Sullivan-Eady (Gaslight), Lindsay Laviolette (Outside Mullingar – Linden House Theatre) and currently with Chris Ralph on Around the World in 80 Days.
Of all the roles as AD what is the most challenging? What is the most rewarding?
I think one of the most challenging can be taking blocking notes – watching every move an actor makes, such as moving from stage left to stage right, when/where they sit, when they stand up, when they enter and where they exit, etc. You have ‘one eye’ on the script to ensure you make the notation at the exact point in the dialogue and the ‘other eye’ on the actor following their action. These notes change often until the director is happy with the flow of the show.
The most rewarding is seeing the progression from the first ‘read through’ in the rehearsal hall to opening night and experiencing the audience’s reaction to all the hard work cast/crew have put in to make it a great show.
Have you ever acted? Why not?
No, I haven’t and have no desire. I admire all the actors I have worked with, learning all those lines, not to mention remembering the blocking at the same time!! I truly enjoy working behind the scenes.
Any crew task you have not yet done but would like to ?
I have helped occasionally on props and dressing. I leave the rest of the crew tasks to those much more talented in their areas than I am.
Do you have a funny anecdotal story you can share with us ?
I do remember on one show, a very crucial prop (gun) was not in place. To watch one actor ad lib lines that made perfect sense to the show long enough for another actor to exit, get the gun, come back on and place it where it was supposed to be, all within seconds. The show continued from that point with the audience none the wiser. Now those are talented actors!!
You are also a member of the Board of Directors. What is your role?
I am Secretary on the Board. In addition to that, I have helped take on and maintain a common file system for the theatre.
How has the theatre changed since you started volunteering?
The biggest change I have seen has been going back to being a community theatre run by volunteers. So many have stepped up to give of their time on many various tasks.
What do you see for the future of theatre in Ottawa?
I think theatre is strong in Ottawa. COVID was, needless to say, a very stressful time but the OLT was among those that survived this trying time. It just shows how important theatre is in this city and I expect will continue to be for many years to come.
Anything else you would like to add for the readers?
I would like to acknowledge all the volunteers who happily spend many hours at the OLT doing what they love to bring great theatre to our patrons. They are a wonderful group of people and I am so lucky to have made so many great new friends.
Please catch Michelle’s behind-the-stage work during a performance of Around the World in 80 Days, on now until Saturday July 29, 2023.