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Its 1971 adaptation to television earned the play’s director Fielder Cook an Emmy award for an Outstanding Directorial Achievement in Drama for a Single Program. Due to these directing successes, The price is a perfect illustration of a director’s role in any production.
Rush and Lowe (70) assert that directors are responsible for major decision making, oversight, crew control, text interpretation and play blocking in a production. The director is responsible for all ideas and concepts employed in a production. Therefore, for a success of any single play, relies on the ideas of the director. To discharge this duty, the modern director is expected to develop an overriding theme or main message to pass across to an audience specific to each production or revival, choose a period on which to stage a play in time, determine the theatre space requirements (71), control set design (72), look for the right cast, block or stage the play (73), determine character relationships and lastly, create effects for the audience (74).
Director Gary Hynes successfully brings out The Price’s original aim of exploring family relationship, in particularly sibling strife through the two Franz brothers confrontation. Grosbard’s successful direction of the moral standoff between the two brothers (Playbill.com) echoes Gary Hynes later production at the Mark Taper Forum in this regard. McNulty (5) observes that though the play is old fashioned, both directors set it in an attic of a Manhattan brownstone, a quite fitting analogy to the theme of the play. Choosing a theatre for this play is not a difficult task as it does not require much in terms of space, but the design has to reflect a long neglected house and locked away furniture. McNulty’s (5) review critiques Hynes’ set for resembling the “warehouse of a pricey antique shop”, but credits the director with successful choice of theatre.
With regard to casting, the price prior castings have been
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