A friend loaned me a copy of Start With Why by Simon Sinek a few years ago and created a monster. The book is about leadership, but more to the point it’s about how people and companies have inspired legions of followers by simply and clearly letting them know why they do what they do. Businesses examined in the book include Apple and Nike, as well as others which haven’t been so successful. I liked the book so much I ordered my own copy.
Chapter 3 starts with a simple diagram that makes total sense to me. It’s three concentric circles; the outer one represents “what,” the middle one “how,” and the inner one “why.” The author then goes on to argue that so very often, when trying to sell a product or a concept, we focus on the “what” and the “how,” but tend to ignore the “why.” In fact, “how” sometimes takes over to the point that the process becomes an end in itself instead of a means to an end.
I see this all the time in theater companies as well as various online forums. Someone will ask “How do I do this or that?” and the answer, frequently, is “You do it this way or that way.” But so often I want to ask — or I do ask — “Why do you want to do that?” Which is just a way of asking, “Do you know why you’re doing it?”
For instance, take Man of La Mancha. The original set, designed by Howard Bay, had a staircase that lowered from above whenever someone entered or exited the dungeon. That staircase was there for a reason: to show, visually and dramatically, the isolation and helplessness of the prisoners and the power the inquisitors had over them. But how many productions of this show include that staircase “just because it’s there?” We end up with staircases, all right, but not with ones that make the powerful statement of the original one. I especially find it amusing when the show is done on a stage with a low ceiling (like many high school auditoriums) and the staircase ends up being too small to say anything.
Another example is The Nutcracker, where the Christmas tree “grows.” And so often it grows “just because it grows.” If we look at that scene in the context of the story, we realize that the tree doesn’t grow: Clara shrinks down to the size of the Nutcracker doll, which is what makes the dream sequence make sense. But it’s so easy to get caught up in the tree growing that it turns into a technical project instead of a means to advance the story. I remember watching a performance of the ballet and hearing a mother telling her young daughter, “Look, sweetie, the tree is growing!” I wanted to reach over and ask her why the tree is growing.
Okay, let’s do this in threes. A third example is a production of The Woman in Black I designed a few years ago. The story takes place on the stage of a theater that the protagonist has rented to rehearse a play he wants to do for his family and friends. The only scenery and props used are what’s already there on the rented stage, including a table and chairs and a large trunk which becomes a desk, a horse cart, and a bed. We had a large old road trunk on casters which I thought would be perfect for the show; it was moved around several times, so the casters were great. But the technical director wanted to build a skirt around the bottom of the trunk to hide the casters, because “that’s what you do with scenery pieces.” I finally convinced him the casters were totally in character, but it took some doing.
So what to do? In the first two cases, asking “why” before “what” and “how” could have resulted in very creative and theatrical choices. In the first case, asking why that staircase was there in the original production could have resulted in a design solution that worked better for the space and still added a highly dramatic visual impact to the story. In the second case, knowing that the tree doesn’t really grow (in the context of the story) could have resulted in a lighting scheme that focused on Clara’s dream — better advancing the story — and not on the tree.
In the third case… well… why would a theatrical road trunk need a skirt to hide the casters?
At the risk of indulging in shameless promotion, I’m going to suggest that Start With Why should be read by designers, tech directors, and directors. It’s a short book, reads fast, and gets right to the point, unlike so many others that pad the pages with words just to increase the page count. It’s available at bookstores or at Amazon, and you can also order it through my SD&T Bookstore.