“Different Every Night” by Director Mike Alfreds

Different Every Night by Mike Alfreds

Director Mike Alfreds’ work and techniques, as discussed in his book “Different Every Night,” are incredibly valuable to actors and directors for many reasons.

Placing emphasis on the power of imagination:

Mike Alfreds considers the actor’s imagination and inventive contributions to be crucial. His belief is that actors should refrain from confining themselves to a predetermined interpretation or performance, instead of striving for a sense of freshness in every moment. This approach promotes the active involvement of actors’ imaginations, culminating in performances that are characterised by greater depth and emotional complexity.

Welcoming the unknown:

Alfreds advises actors to embrace the uncertainty and unpredictable elements that come with live performances. When actors let go of control over predetermined actions or choices, they become more responsive and adaptable to the constantly shifting dynamics of a performance. Embracing this mindset enables actors to stay fully present and enhances the level of connection they have with their fellow performers and the audience.

Possibility exploration:

The book assists actors in navigating a series of exercises and techniques designed to stimulate their exploration of various performance possibilities. Alfreds stresses the necessity of originality in performances, empowering actors to uncover new nuances, subtleties, and interpretations of their characters. By engaging in continuous exploration, actors can avoid falling into repetitive patterns.

Collaboration approach:

Rather than dictating his own vision to the actors, Alfreds encourage a collaborative setting where actors actively contribute their ideas. By adopting this method, it cultivates a sense of personal responsibility and commitment to the performance, which allows actors to establish a deeper connection between their characters and the storyline. By promoting a sense of collaboration, Alfreds empowers actors to embrace risk, make daring choices, and show unwavering commitment to their craft.

Integrated approach:

Alfreds embraces a holistic perspective in the realm of theatre and acting. He underscores the significance of comprehending the entire play, encompassing its context, themes, and inter-character relationships. This extensive comprehension enables actors to make well-informed decisions and develop performances that are rooted in a profound understanding of the material.

The principle of “Different Every Night” is essential for actors as it empowers them to explore creative avenues, embrace spontaneity, and embody authenticity, ultimately enhancing the vibrancy, captivation, and integrity of their performances.

Participate in online workshops led by Mike Alfreds.

Series of interviews with Mike Alfreds himself and actors, actresses and collaborators by Peter Thomson

Michelle Williams, Mark Rylance, Patsy Rodenburg and many more.

Books by Mike Alfreds: “Different Every Night”, “Then What Happens”, “What Actors Do”

Different Every Night by Mike Alfreds

Summary – a few first steps of analysis:

1. Analyse the structure of the play, its organisation of space and time, and how it moves.

For a more comprehensive understanding, we recommend reading “Different Every Night”

2. Create a list of all the unquestionable facts regarding a certain character, A.

The Character: A

Write out (don’t do this with a computer) 4 lists:

1. Facts about the character:

• These facts, established by the author/playwright/scriptwriter, pertain to the character’s backstory, relationships, appearance, and the major actions they perform during the play. It is crucial to avoid conjectures, guesses, opinions, emotional descriptions, value judgments, or feelings. Instead of labelling someone as angry, nasty, or clever, focus on describing observable behaviours such as frequent temper loss, quick-thinking abilities, or cold treatment towards others. Identifying repeated patterns of behaviour is also beneficial. Keep such facts active.

2. What the Character Say about A.

• Anything in which she uses I, me, my.. even innocuous phrases like ‘I think’.

3. What the Character Says about Other People

• Both to their faces and behind their backs; also about characters who may not
  appear in the play if that occurs.

4. What Other Characters Say about A

• Both to her face and behind her back.

Different Every Night by Mike Alfreds