If there’s one thing every community theatre director knows, it’s this: notes are part of the process. But how we give them — when, where, and in what form — matters almost as much as what the notes actually are.

A recent article on OnStage Blog by Chris Peterson makes a compelling case that our default notes ritual — the post-rehearsal group dump — might not be serving us anymore. I’m thinking it can confuse and frustrate actors instead of helping performances improve

In community theatre, where people volunteer their time, passion, and vulnerability, I think we owe our teams more than simply tradition for tradition’s sake.

Here are five ways to reinvent notes with intention that have worked for me.

1. Be Intentional About Format: Written vs. Verbal

There are times when a quick word in the hallway is more than enough — and times when you should sit down and type up your thoughts.

Let’s face it – hearing a long list of adjustments at the end of a three-hour rehearsal is like learning a new language with a vacuum cleaner running next to you.

When to go verbal:

• You need immediate, collaborative energy.
• You’re working on dynamic adjustments like pacing, emotion, or group rhythm.

When to go written:

• The note is technical or detailed.
• You want the actor to process rather than scramble for meaning.
• You want space for reflection without an audience.

Written notes are not a replacement for a conversation.  Used properly, they’re an effective  tool that forces clarity and gives actors agency over how and when they digest the feedback.

When I’m directing, I use a online forum called Virtual Callboard to help organize and collaborate throughout the rehearsal process.  I try to post note summaries frequently so that actors can refer back to them instead of searching desperately through their own scribble–riddled scripts to remember what I have said.  It’s not perfect, but it’s definitely anxiety-reducing and easier to digest.

2. Choose Your Setting: Private or Public

Not every note belongs in front of the whole cast. There is a key distinction between functional adjustments and confidence-hitting feedback.

In a small community theatre room, people know each other — and they remember how they felt during notes sessions.

Ask yourself:

• Will this note help everyone if said aloud?
• Does this feedback target something personal that could erode trust if shared publicly?

If it’s sensitive or personal — pull the actor aside or send it privately later. Respect builds more buy-in than public correction ever will.

3. Prioritize Empathy Over Ego

This is where leadership training can really help a director.

Many of our instincts around notes come from outdated norms: that directors must assert authority by how many notes they give, in the same way that bad managers think that they need to constantly criticize to maintain their dominance.   But, as the OnStage Blog observes, more notes don’t equal better outcomes, and even the best actors often absorb only three or four, no matter how many you give.

Give notes that support the actor’s process, not notes that prove you were paying attention.

A rehearsed room should feel safe enough to encourage risk, not create defensiveness.

4. Be Clear, Not Vague

I adhere to this maxim:  If a note can’t be applied immediately, it’s probably not a note yet.

This aligns perfectly with the article’s critique of notes that are “just vibes”:

• “This isn’t working.”
• “Make it more real.”
• “Don’t do that.”

These are NOT notes.

THESE are notes:

• A specific question that opens an actor up: “What is your objective in that moment?”
• A manageable adjustment: “Try it with your entrance timed to X.”
• A prompt that unlocks a choice: “What happens if you soften your response here?”

Actors need something playable, not something abstract or esoteric.

As always, clarity is EVERYTHING.

5. Know When Not to Give Notes

Here’s a revolutionary idea: sometimes the best thing you can do is give no notes at all.

The article argues that there are nights when morale is low, energy is spent, and brains are fried — and dumping critique then does more harm than good.

In community theatre, rehearsal can feel long, rehearsed and compressed. There is nothing efficient about giving notes at the precise moment actors are least able to absorb them.  That’s just overload, and it’s a waste of everyone’s time.

I like to give notes in small chucks between scenes for this reason, but really – it’s fine to just save the notes and let people go home with their dignity.  If you bring the feedback back when the room is rested and receptive it will land more gently and with far less confusion.

The Real Goal of Notes

As a director, your notes don’t just fix blocking or sharpen lines. They send a signal about the kind of room you’re building.

Are you creating:

• a space where actors feel safe to take risks?
• a room where the word “notes” makes people tense?
• a culture of growth, or a culture of correction?

Because, as the OnStage Blog reminds us, notes can make actors feel clearer — or they can make them feel smaller.

We don’t give notes because actors are weak. We give notes because we want better theatre. However, we have to remember that better theatre comes from brave actors,  and bravery thrives in rooms that remember that people come first.

If we rethink how we give notes — with empathy, intention, clarity, and sometimes silence — we won’t just improve performances, we’ll improve the rehearsal room itself.