About the author

Lindsay Price


  • I’d love to know more about how directing your own workshops compares to having another director at the helm.  Personally, I prefer having someone else take the reigns.  Not only does it allow me to focus more on the actual writing, but I’ve also already directed the play in my head and find it difficult to stray from that.  Of course I think my version is the ultimate, but time and again I’ve been proven wrong.  So I’m interested to know how you tackle a workshop as a director and still find the surprises!

  • Hey Bradley!

    It’s two different processes for me: the workshop is separate than a first production. For the workshop, I want to put up what I see on the page, exactly what’s on the page (for right or wrong) and then I take  the results back to the office to either do re-writes or find a first production. And then when I put a play out for a first production, I hand over the script and only go in in the final stage to see how it’s been interpreted without me. 

    sometimes I don’t need to workshop, I just pass it on for production because it’s a straight forward play. But I’ve been doing plays recently that aren’t straight forward and it’s to my own benefit, and to the first productions benefit if I go through it first. For a workshop, I’m looking for a very specific result. For a production, I’m more interested in what others bring to the table.

    And lastly, i’ve been directing my own work for years, way before Theatrefolk was formed. So i have a process and an ability to separate between writer Lindsay and director Lindsay. Sometimes I will even look at the work and catch myself speaking about the writer in the third person- “what does she want here….” but that’s getting weird……