Good Morning,

In my experience most directors are paid something. I have read posts here where they are not. I direct in a wide geographic area. If there were not some sort of stipend I wouldn't be able to afford to direct. The price of gas alone would make it prohibitive. My suggestion would be to talk to producers and or directors from the closest theaters to you and find out what they pay. If you get a good director that helps you put up a good quality first show, gives the players and the crew a chance to have fun and be creative, gets people in the theater and helps build your theater's reputation for doing quality work you won't need to worry about how much you pay them. They will be worth every penny.  

Linda

G'day Mlaine

I can see the value of what Linda has posted.

However I believe we tend to miss the point & meaning of Community Theatre. In most respects it is as the marquee suggests;- by & for the community.

If you wish to shackle your group with payments, other than honorariums &/or podiums, to cover only out of pocket expenses, that are necessary to the production - Go for IT!

I realise we are somewhat different, in many aspects of what is perceived as the norm in each of our countries. However I?m sure the average theatre group there is similar to the groups here, in their aims & objectives of fostering theatre arts within the community.

To explain our method and general practices in the local theatre groups. The Producer is the Committee or board & the Director is a member of the group. In the cases where an outside Director, is invited to do a production. It is a rarity for them to be or expect payment for the production!

We rarely use the term Artistic Director, as this tends to suggest an ex-officio or resident Director, with over all control of all the training of Directors & seasons produced within the period of tenure.

It?s not a very practical position & usually causes more strife, than you can wave a stick at! Especially if they are entrenched, over a number of years. They only tend to stifle & all productions become generic &/or a stale product. Operatic Society?s are the worst, for churning out the same old sausages, year after year! But they seem to get away with it - because of the ?toffee nose? factor!

So my question is;- As the artistic Director, why don?t you Direct or cultivate & foster member Directors, rather than pay an imported one?

After all, the aims & objects of the Group, is not that of a Pro Company!

Years ago here in ?Gondwanaland on the continent of Terra Australis at New Holland. The Pro Company?s believed we couldn?t do a Theatre production, without imported Directors & headline performers, to insurance a good box office - it?s certainly not the case these days. Although it still happens, from time to time. Inversely it is the same in your country, with the Yankee ?Boy from Oz??

Chookas

If you are unable to offer a stipend and don't have any luck recruiting a director willing to work for free, maybe you could offer something other than cash - for example, if the director does consulting, teaches voice lessons, or is a CPA on the side, offer him or her a free ad in your next couple of program books. If you have (or will have) a costume closet, offer free costume rentals for his/her next production.

Also, try getting in touch with other performing groups in the area. They may know of some less experienced directors who would be willing to work for no stipend in exchange for getting the experience.

Good luck!