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to be another eye, or ear, so that the text is delivered with more imagination, color, rhythm, while I'm beginning to concentrate on the acting. Because there comes a time when you need to concentrate on the acting and you don't want the actors to also lose sight of the technical issues, and so it's nice to have someone come in and remind them.

I luckily have longstanding relationships with several vocal coaches so that I think they're sensitive to not deliver too much technical information at a time when the actor still needs time to be free to work imaginatively and emotionally. I respect those people who begin to understand that there is a time when talking to an actor about technical issues is valuable and then there is a time when it could interfere with the work process, and to be sensitive to when. And also perhaps to be sensitive to when there needs to be compromise ­ when for example it's better for a certain actor to do it this way even though it's not "correct" or what you might choose yourself to think, but sometimes to be open to a different line reading.

Could you talk a little bit more about that issue of sensitivity to the actor and to the timing of the rehearsal process?

I think sometimes vocal coaches, especially when they're starting, like all of us, want to make sure that everybody knows they're doing their job. And in a way they're auditioning and they want the actors and the director to know that they know their stuff. And sometimes they can be overzealous too early or ­ more important ­ not be as intuitive about the different work processes of the different artists. I don't work the same way with every actor. I probably work differently with every actor. I certainly have an aesthetic, and I have a technique, but they are continually colored by the instrument of the actor that I'm working with. And I think it's really important for a vocal coach to have that flexibility too. Now, that doesn't mean that you just "shut up" but on the other hand you have to be sensitive to people's way of working, people's temperaments, personalities, defense mechanisms. I think a vocal coach has to be as sensitive as a director. And sometimes they are and sometimes they're not. The ones that are not are certainly not as helpful to the process. Somebody who is, makes a great contribution. When the vocal coach is sensitive to these issues I think the actor really wants the help. Most

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actors really do want help, but they want it when they feel they need it; and they want to be left alone when they're in the process of going through discovery, and perhaps or they're experiencing difficulty or frustration. They don't want the director telling them too much then, either. I now work with a company that's used to working with vocal coaches so they actually look forward to the work; but when guest artists come in, that aren't used to it and have had bad experiences before this, then you have to be really sensitive.

I think personality is so important. I think if avocal coach is forbidding, cold, defensive, bureaucratic, they are not very helpful to a production. If they are secure, sure, prepared, willing to be challenged, willing to change, willing to learn and are intuitive, they are fabulous.

And I think it's important, just like it is for a director, to table your ego lots of times and say "this not about me, it's about this project." I think vocal coaches have to do that too. There are vocal coaches ­ although I've never had this problem, but people have told me about it ­ who let's say wanted to be actors and aren't any more, or wanted to be directors and aren't any more, who somehow overstep the bounds of what they are there for out of, their own ego needs. And that's destructive. It can be the same with dramaturgs, or anyone else on the production. You have to put yourself in the service of the production rather than put the production at the service of your ego.

You've mentioned that there are a number of vocal coaches with whom you have long term relationships. What about working with people you don't know well? Is there anything you'd care to say to vocal coaches about getting to know directors and their work?

I don't know what other directors do, but I sit around the table for a week at the beginning of each rehearsal period, and I think the vocal coach should be there with me. If you're at the table with me, you get to know what I'm talking about. I worked with Eva Barnes for the first time on my adaptation of HENRY IV parts 1 and 2.

During the week at the table ­ sometimes I would ask her questions and vice versa ­ she came to know what I was after and how I was working, so that by the time she went off to work with the actors, it was great. That's how we got to know each other. I find it hard to communicate to the vocal coach exactly what I want except directly through the work. I guess if I always knew exactly what I wanted, I could do it myself.

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