Final Preview

Howdy,

Tonight was the final preview. The play is now handed over to the actors and Jessica, our stage manager, to maintain and support it's growth. Scott and I will be around during the run. But it is a goodbye to a phase of the work. The work continues. It continues for the entire run. As a matter of fact as I put the key into my apartment door a thought struck me about clarifying an overall intention of one of the characters. I know I will be looking at this thought during tomorrow's run. If it is valuable I will share it with the actors. My thoughts are on the end of the process because it clearly shifts tomorrow.

First, I want to talk about tonight. Jamie D. and Eric T. carried yesterday's excellent work into tonight's performance. More consistent. A couple of 'intense' moments that need to be more specific and couple of casual moments that need to have the right fuel under them. Overall though the work is done with a 'conscious spontaneity'.  It has it. And my goal for the actors is to keep that spirit of the work while utilizing the run of the play to continue to craft their performances. I see it happening now. 

This blog has been to track the development process. I will probably blog tomorrow. The play will continue to develop after opening. For now though, the rehearsal process is over and it seems the right time that it has been an honor to work on this play with all of the very committed and generous artists. Scott, Eric T, Jamie D, Lea, Sarah, Betsy, Jessica, Bob, Marieke, Alchemy, LAByrinth, Keenan, Jayme, Kate, Martin, David, Lauren, Becky, Dan, Leah, Irv, Kohl, Barrett, Jewdee, and all. This play and production will hold a special place in my heart forever. What makes Sweet Storm truly special to me is that it is absent of cynicism. And it seems to have had a similar effect to all of the artists that have engaged in the process of developing this play. Each of them has brought themselves fully to the process and I know because of it I am leaving this process a better artist. Thank you.

Goodnight,

Padraic

True Development

Howdy,

The performances took a leap today. I think I've said that before, it is unfair to say it took a leap, they took flight. That is more accurate. Before rehearsal today I talked with Scott, and Andrea Haring about warming up, and the purpose of it, and they both spoke about the intention of warming up just prior to the show is about becoming open, relaxed, connected to the material in order to create 'conscious spontaneity'. I came to rehearsal only to discover that both Jamie D. and Eric T. on their own had been thinking about their warm up process. I shared with them the idea of taking advantage of being with each other, talk about the play, run lines, - connect with one another. Andrea's suggestion was to also warm up in the space. To take advantage of the opportunity of their connection to the world of the play. And, that is what they did before the show tonight. And they were both really there for the 'first' time, hearing, reacting, being for the 'first' time. They allowed themselves to not 'control' or manifest the performance. And I was proud. There were some stakes dropped and the new is goal to keep the freedom of performance while working toward 'conscious spontaneity' with the deep emotional connection.

To be perfectly honest the work of directing the play is done.  We've discovered the shape, the needs, the event of the play. The technical elements are complete. It is now moving back to development. The development of two very talented artists. I remember hearing when I was studying acting and just becoming a director that it takes 20 years to become an actor. I don't know if that number is random or not but now that I'm entering my 20th year as a professional director I believe the statement to be true. Eric and Jamie have a wonderful opportunity to continue to grow, find out the best way to work, and push beyond past limitations to reach the next level of their artistry. I have complete faith. Tonight I saw them exit a cocoon and fly. There may be fear about how far from home they want to journey, but after tonight I know that the cocoon will no longer serve them. I'm very excited to watch them take flight together.

Goodnight,

Padraic

TwoDay

Howdy,

Today was a two show day.  A two day show during previews after tech is really a test of stamina. The job of the actor is to do it for the 'first' time after doing it for the longest work week there is, following a show earlier that day. What was clear is that the foundation of the play is strong. The matinee was very strong. With flashes of inspiration. Very strong. And The evening show, was the play. The play is good, the energy was a bit low, and it is hard to watch as a director. It's a good show.  It was better earlier. And the difference is subtle - probably only you and playwright are aware of the difference. And what I took away from the second show today was the prep, mental and physical, required for the run of the show. 

I had a great conversation with Scott today between shows about the commitment it takes to be a great artist. Something he said really struck me and that is - The commitment it takes to be a great artist is going to cost you. -  Cost you some socializing time, cost you in how you are able to talk about the work, cost you in how you are perceived. There is a cost. And I understand that because working with two actors on a play they really care about, watching them grow and try to push through barriers of their own to serve the play best as possible, it really is work. And it is also illuminating in how critical preparation is for the work. And when you are expected to do something nine days in row, that preparation is not something that is done at the theater. It begins when the show is over, when you go home, how you treat yourself all day prior to arriving at the theater. It is a discipline.

And tomorrow, we do it again. Only once. But again as if for the 'first' time.

Goodnight,

Padraic

Happy Birthday Scott Hudson

Howdy,

Today is, was, Scott Hudson's birthday. And the gift he received from the cast and myself was implementing the realizations of last night. He also got a card and some cake. But the real gift is the willingness of Eric T. and Jamie D. to fully commit to taking the work to the next level and eagerness to refocus, or maybe strengthen the focus of the work. They did a great job tonight. And, there is a vocabulary and grounding in the essence of the play that leads me to believe they will continue to grow on in this direction. 

It is, was, also Monique's birthday today - she took beautiful production shots of the play. This is but one of them.

Implementing the change this evening, though it seemed like a major refocusing was really possible because Scott, Eric T., Jamie D and myself had already done the detailed homework. And they could now let go and just experience the event of the play - which they did. 

There are two shows tomorrow, no rehearsal between, I look forward to them having an opportunity to keep working back to back.

Goodnight,

Padraic

The Greatest Team on earth

Howdy,

Anyone who knows me would think that with the title of the email it would be focusing on the Yankees beating the Mets. No. The greatest team on earth is Sarah, Betsy, Lea, and Jessica.

Tonight's run was a disappointment. A disappointment because it lacked the energy, stakes, moment to moment work that is cliche for second previews. It is a disappointment when you see the trap coming and still walk right into it. The audience saw a fine play. I believe they enjoyed it. I did not.

Then I went out to eat with the designers and Jessica and was challenged about what the play is about. What the event of the play is. What is the fundamental experience the characters are going through and why is it vital for us to watch? Those were the questions on my notes tonight for the actors. But with truly intelligent questions and challenges of choices in the rehearsal process from Sarah, Lea, and Betsy I was able to clearly identify the work that needs to occur over the next couple of days. 

The experience has been expressed in notes. But it really has to be grounded in work the next couple of days. The play lives in the two lovers being left alone together and discovering each other and themselves, and learning if they are capable of being loved and loving one another. The foundation of that experience is the essence of the play. That is it. Previews can be painful because you think you did that in the rehearsal room, not until you are in front of an audience and see where actors retreat to when tired that you learn clearly that the foundation is not as deep as you thought. This is not a criticism of the actors. It is an enlightenment - and push from Lea, Betsy, and Sarah to dig deeper. And for that push, I am most grateful.

Goodnight,

Padraic

Preview #1

Howdy,

First preview and it went really well. Still searching for the final ending moment - how do you get the wind to stop, can't blow it away with wind, can you? We'll find it tomorrow. I feel like I want to write about courage a lot when I think of the work people are doing. We made a major lighting change between the afternoon run thru and the evening performance. Lea has transformed the set through details added in the last 30 hours. Betsy is pushing the the details of story telling just write and we are filling out the play nicely. And Scott is amazingly present for all details in the show including how to help support and guide the actors to more specific work.

Jamie D. and Eric T. knocked it out of the park. Really private intimate work. Honest and in line with all of our work. Had the security of having been working for a while. I look forward to how far the play will grow. 

A lovely audience. Thanks to all that showed up tonight. 

Look forward to fine tuning and watching the work develop.

Goodnight,

Padraic

Trust

Howdy,

We had a full day of tech today. We got through most of the play. Well we got through all of the play but there are about four sections we have to look at again tomorrow before a final run through before our first preview. It is always most challenging to get into and out of a play. What I was struck with today is how much trust of fellow artists is critical at this part of the process. There is a huge amount of work going into putting everything together in the days of tech and then in previews. All of the plans are coming together, actors are dealing with a lot of information that effect their performances. Everyone is in the room together and giving input to each other about the work. Well, what I realized as I worked all day is that I trust everyone in the room. I have worked with each of them now many times, or on this project for over a year, and I know if something isn't 'right' or could be better - they will put their efforts toward making it so. I trust all of them fully. That is the joy of being in a room creating something, knowing that everyone working with you is excellent at what they do and will do what ever they can to the best of their abilities.

Trust hit me because as Scott and I walked home from the theater tonight. We both were expressing how we were comfortable with the fact that our first preview is tomorrow. Not over nervous, certainly not cocky. Trusting. That is how we felt. Trusting that people will come and bring the energy of support and that all of the artists will continue to grow in our work.

Speaking of work tomorrow is two different experiences. First it is time to continue working, detailing what we think might work best for the play. Then the experience of sharing the work with the public, and then the work will never be the same because we will have feedback from a live audience's response. They will become our new trusted collaborators. 

Goodnight,

Padraic

Day ahead

Howdy,

We had a rare treat today. The actors were able to be in the theater a day in advance to rehearse. Working out details for where props go. The sound quality of the theater. And working out the reality of making the 'trap' door work. Qui came in and gave a great creative idea for it - it now works and serves the play better.

Having the theater a day in advance gave Sarah and Betsy a chance to lay in some cues for the show - not specific but to get the idea in place. We will be ahead of the game tomorrow, I believe. The theatrical tree looks fascinating. The camo-netting (something I did not know existed or how it works until this show) is an amazing solutions for willowy leaves. There is no borders or masking until beyond the treehouse. It is a very exposed playing area - and it seems to be working very well.

There are theatrical elements - the tree for example, and very real things, like an old chair and trunk, and then there are things that combine both, like a quilt that needs to be aged. There is a delicate dance to figuring out how to combine all of these elements to best present the play. Lea shared a great thought today. It was, the setting of the play has to do with the cumulative effect you want to have when examining the entire story of the play. 

That is important to remember as you slowly put a play together on beat at a time in tech rehearsal. I'm hoping to remain open to the whole story, the input of all involved, and the details of every moment in the play.

Goodnight,

Padraic

Loaded

Howdy,

I stopped by the theater and saw lights in the air and the set on stage. It's looking great. Already cleaning things up - like the minimal masking. Focus is tonight. Sound is later tonight. And then tomorrow we begin rehearsing in the theater. Tech officially begins Wednesday. Tuesday is for the actors to get used to the sound in the theater, for some spacing on the set, and addressing some sight line issues. It looks great - out of respect for the element of surprise I will try to refrain from posting a picture of the set before it is performed for an audience.

The next week. With technical rehearsals and previews will be very busy and I will want to blog about the experience. However, I want to take this opportunity to say thank you to Trevor Brown. Trevor was the marketing director for LAByrinth Theater that first asked me to blog about the development process last year when were at The Public. It has been very helpful to share the development process with everyone. This has helped to articulate thoughts about the play, to crystalize what is needed next, and to create a sense of community for the play. This play - maybe every play, is a communal event. Knowing that people are invested in the process and the success and growth of the play helps in some undefinable way to strengthen, empower, elevate the love, bond, and desires of Bo of Ruthie. As they enter the tree house all of you that have followed the blog go with them celebrating their happiness, empathizing with their pains, and rooting for their love to be fully realized. A play grows beyond craft of a team of artists and fully blossoms into an experience a community baring witness to one or more people attempting to overcome obstacles to achieve some thing vital. Thank you Trevor for thinking it might be interesting or valuable for people to bare witness to all of us trying to overcome every obstacle to achieve this production of Sweet Storm.

Goodnight,

Padraic

Time to move

Howdy,

Last night I was nostalgic for our time together in the rehearsal room before we even left. After today's rehearsal it was clear that it is time to move to the theater. Eric T. and Jamie D. had a great run through. Demonstrating the knowledge of the play, capturing the inner storm, and the love for and between each other. However, Scott and I saw clearly what was missing. Always pushing for more. Most time the last run in the room is a confidence builder. "we're ready." Well, they are ready. But today's focus on what elevates the play. Afterward, Scott and I talked with each other about what is the next level we need to see the performances at as we enter tech. Then I tactless talked about that with the actors during notes. Probably not the best for morale. Definitely attention grabbing. 

After rehearsal we had a cast and production team dinner planned. After a couple of hours off we gathered at the restaurant, it was then the actors said it was good to hear the notes. They wanted praise but appreciated the honesty. I got to apologize for my clumsiness and we all committed to the next level of work. It is time to leave the rehearsal room. Time to get into the space for presentation. And it is not our last time together. This experience will connect Jamie D, Eric T. Scott Hudson, and myself for a very long time. I am sure.

Oh, and thanks for the comments on yesterday's post. Both of them were very affirming for the work we are doing. Valerie's questions were those that I spoke about at the end of rehearsal today and why this play is an honor to work on, and exciting to present.

Tomorrow I go to the theater to see all the tech loaded in. 

Goodnight,

Padraic

First things Nerf

Howdy,

Today's rehearsal began with Dunkin Donuts and a Nerf football. Feed the soul and create a safe environment in which to play. That is the goal of rehearsal, at least today. The atmosphere was playfully productive. A little catch. Dialect warm up. And a run.

At the end of the run. The element that was missing, slightly, is the scope of the 'event'. The Honeymoon in a treehouse. The size of that and what it means to each character. As the actors become more familiar with the events of the play, it seems only natural to find fascination - as I do watching each day in the new details, details the character may not actually be aware of in the moment because it is the first time they are in a treehouse with the person they love. It is very challenging to keep that first time, true first time, presence of experiencing something for the first time, fresh. 

After the run, I went back and reviewed three sections of the play remembering what the discovery was of the 'stakes' and action, the first time we did the scenes - back at The Public. Not to duplicate them, but to re-examine the impulse. Those three scenes re-connected us with the essence of being in the 'event' for the first time.

I think Eric T. kept expecting some exercise for actors with the Nerf.  I just brought it to remind me to keep the room light and playful. Mission accomplished.

Tomorrow is the last day in the rehearsal room. There will be a run-through of the play. Some notes. Looking at any sections that will help ground their work before we enter tech.  It is absolutely time to move into the theater. However, I will miss the safe, private time I have had with Scott, Jessica, Eric T.,  and Jamie D. It is an honor to live in and care for the world of this play with them. I look forward to expanding that world, however, I have to acknowledge I will miss this time together.

Goodnight,

Padraic

Play

Howdy,

There are two days left in the rehearsal room. We have rehearsed the play 70 hours. For the workshop last time we rehearsed 75 hours total, including tech...and possibly the run. So we have practically matched that effort. And the actors know the play and characters better. Yesterday was a huge leap in the capacity of the storytelling. Today, we fell from that leap. That thing that had the work come crashing down, or falling down, is that we forgot that doing a play is fun. It is play. The joy of these characters are that they are Characters - with dialects and intellects different than our own. Not that those elements weren't present but the joy of embodying them seemed to be missing. So, we spent the last half hour of rehearsal heightening those elements, celebrating, and having fun. It is in there. They just have to own it. It is hard. There comes a point when a play has to be shared with a fresh audience. The actors are doing something as if for the first time, but it is necessary to add a new fresh energy to the room, usually the audience, maybe the technical elements; I don't think Scott and I provided that today. Funny how we need to bring an energy to receiving the work, which is as important to the actors as their energy in sharing the work. At least at this point it is.

I'm looking forward to having fun tomorrow. Working a few moments then moving onto a run-thru, celebrating Ruthie, Bo, and their romance.

Goodnight,

Padraic

Courage

Howdy,

First off, we welcomed Jayme, our newest P.A. to the rehearsal room. She worked on UNCONDITIONAL, and WINTER PARTY, with LAByrinth and we are happy to have her in the room.  

Yesterday, Bob Saxner came to the run through. We had a brief discussion about some larger notes. And my experience with the play told me why some observations wouldn't serve the play. The questions that made most nervous were the ones that I didn't know how they would serve the play. It made me nervous because it would change things. Dramatically. It would change blocking, sure, it would also change the risk the two characters take in the scene. It would change the depth of their experience. I like risk and depth - but what if it threw off the balance of the play?

It didn't. Scott's play can hold all levels of honest experience.

The actors were ready and excited about these moments of exploration. All of the work we had done to this point prepared them emotionally to experience these changes with the depth and reality that Bob saw...and is in the play. It was some simple blocking changes, with internal shifts expected. If we had done this work (changed blocking) without the other exploration, I don't think the element of 'danger' would've been fully appreciated. The play got more dangerous today. And the actors proved to be courageous in their approach to the work and the play.

Shaking it up was so good for me. The play showed me another color today. That is critical as we go into tech - because up until now I've been dreaming we'd be sharing this work as it is in the rehearsal room. Today's growth got me excited for the details and growth that the design elements can provide.

Two big pieces of news:

The bedpan showed up today. And The poster is up at Theater Row. Both were lovely to see. And good signs that we are getting closer and ready for an audience.

Goodnight,

Padraic

What if...?

Howdy,

Today we did our second run through for designers and Alchemy's A.D. Bob Saxner. What a difference a week makes. The actors were deeply and intimately connected. I got great notes from Bob after the run. Some of them were about 'how far, or ugly, can we push these characters?' It was a great question to ask. I can honestly say that we've seen that in the process in development and it doesn't fully serve the play. However, his point was good, to not let the actors back away from uglier moments...which they are finding. The reason we can ask and examine these questions is because the work is very solid. Now there is an impulse to challenge the hypothesis of the rehearsal process. Not because it's not working but because it is. There is a week before the first preview and we are in position to ask 'can we make it better?', 'how far can we stretch this story?'

Those are the questions I want to be asking. I'm going to explore all of that tomorrow, as well as discovering new questions. 

Goodnight,

Padraic

Welcome back

Howdy,

Kate Rafey joined the team officially today. Or I should say returned to the play from Clark. She was the amazing stage manager from the work up there and now is the ASM on this production. Glad you are here. And so are Jamie D. and Eric T. I'm sure they appreciated their line notes very much. 

After three successive days off it was lovely to be back in the room. The plan of taking the days off went exactly as planned. The production team, Jessica, Scott, and I caught up on our lives a bit and were very relaxed. Eric T. and Jamie D. thought hard about the play and came to a place of ease with their relationship. And, that ease tended to drop the stakes to as low as possible. All part of the plan. If they came back two steps forward instead of one step back we'd be in huge trouble. Instead, they deepened their stage relationship, though the stakes were lower the relationship was stronger. Stakes will be back by tomorrow. One step backward is necessary to take a leap forward. 

I understand the stakes getting lower in my own confession I missed being in the room for three days. I wanted to hang out and talk. I mean, the details of the work is tiring and I mean seriously, after this week we're in the theater with design and production concerns, and then an audience, and there is very little time left to enjoy the truly intimate process. I can tell in my comments to Lea about the set and props that I'm a little fearful of moving from rehearsal room - I love our intimacy. There is safety in that...it is now time to raise the stakes for me as well and start to ensure that there is an awareness of the story we are telling the audience...so when they join us it is equally as intimate an experience for them.

Goodnight,

Padraic

... grow fonder

Howdy,

We took two days off from rehearsal. We're not back until tomorrow. I spent Saturday running the Brooklyn Half Marathon, talking the first half of the 13.1 mile race talking about the play. The process, the growth of the actors. How special it is to go through development with the same team...and like a long run, how important it is to pace ourselves. We needed the time off because otherwise we would've peaked at mile nine and been lagging in slowly to the finish line. Which isn't exactly true, the finish line is not Opening night...it is a new part of the process. A new energy enters into the experience. I will write about that more toward Opening I'm sure. But there is something dangerous to be fully ready for tech a week in advance. It is my hope that the time off gives Jamie D. and Eric T. time to deepen/own the text notes from Andrea and a little excitement for the week to come. 

The second half of the long run, I tried to listen to my friend Aaron talk about his trip to Europe. Something happens when I run long distances...I get very annoyed at my inability to listen, and focus on what is being said. I'm just trying to put one foot in front of the other and finish. Maybe that's why it's important to take time off... so listening and responding remain a joy in the conversation of the play and not something that gets in the way of simply getting to the Opening.

I spent the second half of Saturday not thinking about the play at all. Far away. My mind was at ease. Sunday the focus shifted back on the play. Kate Rafey, stage manager from Clark, and our P.A. called to tell me she'd be arriving Monday and was excited about starting on the play. An hour later, l got a call from Lea who had spent approximately $40 finishing the costume shopping and prop shopping, besides cake, - in Florida. Got to love Florida shrift shops. And then I went out with a friend to watch the sun set over Manhattan - while there I spent most of the evening talking about the process of the play. 

And today, Monday, I'm looking forward to getting back to it all again on Tuesday. Working some notes. And hoping to have everything in place so Sarah, Betsy, Lea, and Jessica can focus on tech. I'm getting very excited about sharing the play with the public. It is a very intimate process and the intimacy is what I'm hoping we are able to share with the public. As it has become Scott, my, Eric T., Jamie D, Jessica, Sarah, Lea, Betsy, Kate Rafey, Keenan, LAByrinth, and Alchemy's play...I look forward to it becoming the audience's play too.

Goodnight,

Padraic

Let's go Nuggets!

Howdy,

Today was our last day of having our P.A. Keenan. He is from Colorado, graduating high school and will be attending NYU this fall as a theater major. He was a great help. Awesome support to Jessica in every way. Mainly setting up and taking down the rehearsal room everyday. He got hooked up with us because his mom met Phil's mom on a flight from Denver to Rochester, or the other way around. It turns out he knows Phil's sister Emily's daughter - Maddy. I put that in there because it is a small world and I like that the connection spans three generations. Thank you Keenan for everything. Hope to see you at Opening.

Andrea came back today and watched a run through. It is a gift to watch her do what she does. Dialect and text work is obviously her calling. She talked with Jamie and Eric T. about how to use the rhythm shifts in the language to help support the story and inner conflicts. She actually said it smarter. All her notes were right totally in line with the internal notes Scott and I have been talking about. Very helpful.

The last two days have been very good. Simple connection between the actors. Simple may be the wrong word. Effortless is how it is appearing.

We look forward to Kate Rafey joining the room on Tuesday.

Today I did something I don't remember ever doing...though I think I might've for The Dirty Talk. I took the weekend off. The actors are achieving excellent work. If we went into tech on this coming Tuesday I would still be rehearsing. With it a week a way, the best idea seemed to give them some time to digest Andrea's notes, to get fully off book, and to give them some personal time. We have a week left in the rehearsal room - it is important to keep the work fresh. I have faith Jamie D. and Eric T. will use this time to reflect on the work. I don't think the connection to the material will dissipate.

I will take the extra day off and run the Brooklyn Half Marathon and to check out Maggie Bofill's play FACECREAM at EST's Marathon.

Goodnight,

Padraic

On Fire

Howdy,

Today's rehearsal was about reconnecting to one another. Rediscovering and investing in what Ruthie and Bo love about each other. And reconnecting to the intimacy and conversation of Sweet Storm. Scott very accurately talked about the trust and courage that it takes for actors to fall in love on stage...and that trust is apparent in the room. The play became much more intimate today, and because of that, it grew tremendously. The chemistry between the two of them was on fire - which is what makes it fun to watch.

And speaking of fire, the play has a lantern on the set. We all agree the 'light' from the lantern will be the theatrical lights - but the act of lighting a match to ignite the lantern is required for keeping the reality of the moment. Whenever there is fire on a set there has to be approval by a fire marshall and the set has to be flame proofed. There is a lot of discussion about how Ruthie will light the match while sitting on the bed, leaning far away from the bed... or does Bo have to do it for her? We explored many possibilities in rehearsal today...and the long lean by Ruthie is our answer today. It is fascinating the things you have to work on, or think about, when it comes to bringing a play to life. 

Another great discovery, in a discussion with Sarah and Betsy yesterday it became clear that the event of closing the 'window' was more about Bo doing something to care for Ruthie, more than creating the reality of the window that was important. What we did - is not literal in any way. I can't tell you what it 'means'. I can just say that when it was done in the rehearsal room... everyone agreed that it felt totally right. I don't know if I discussed closing the window earlier or not on this blog. I'm discussing it now because the collaboration between all designers in the telling of the story is to be fully trusted. Everyone is invested in telling the story. And when I talk about directing I like to say, it is not up to the director to have the answer but to recognize when the answer has entered the room. Today it entered the room and everyone recognized it. Thanks to all in the discussion.

Goodnight,

Padraic

Back to Process

Howdy,

All I have to say is that 'process is over' and the absence of process bites me in the butt. Today we did a run for Sarah, lighting designer, and Betsy, sound designer, and a few other people , Brian, Marieke, Bob, Scott's friend Michael - all there in support of the play. However, the cliche occurs. The actors push for product. Every beat of the play is displayed and craft is articulated and demonstrated. Just not experienced. And experience is where the play lives... in the ability to experience the play fully each time. As an actor... I can't do it. That's why I direct. Jamie and Eric T. have done it, have experienced it fully. The art of the actor, and what I see at LAByrinth all the time, is the courage to experience something fully each time... to bring yourself fully to the experience. When that happens the play soars.

I love this play because it makes me want to experience being in love. All that is joyful, tingling, and terrifying about risking what it is to be in love, to love, and possibly to be rejected.  And willing to do that everyday, honestly, is the process of this play.

And for that - I never want to let go of process.

Goodnight,

Padraic

Trees Through The Forrest

Howdy,

Okay, the post below talks about the 'process' being over. Then Lea emailed me photos from Lithia Springs Florida - where the play takes place. The one here is a fascinating view of trees that could very easily house this play. I like the ghost like gauzy shadowy mazes the branches form. I wanted to post it - to illustrate the process of discovery and exploration is never truly over. And the photo is fascinating. Thanks Lea.

Goodnight,

Padraic

"Development is over"

Howdy,

Scott called me tonight and said that development is over. The script with its subtle changes between last summer and this production is pretty much, or actually fully, in its completed state. The workshop at Clark and the discussion I had with him during that period took my understanding of the play to a very full place of ownership. No longer am I, or the actors, asking Scott - 'what does mean?'. We are on our way to production. The play is a product now. It almost has been for the past year - and I won't take this time to give voice to some frustrations about the cost of fire proofing a set, or window, or a trap door. Those elements are all deserving to be part of this play. The choice has always been to showcase the script and the acting. I must say that the acting is so rich in detail and courageous in its honesty that I crave these real elements so that the actors can remain fully engaged in the reality they are creating.

This idea that the play is a product is correct. The blessing of working with the same cast and almost same crew is that we all grow together. And the actors are growing. By the end of this week we will be ready to go into the theater for tech and to invite an audience in. However, we will have one more week of rehearsal. In that additional time we need to pace ourselves, we also get to take advantage of this gift, this place that all productions want to be in...'I wish I had more time'. If you had the time what would you do? We are going to take the time so that the actors can continue to own and love 'the problem' of the play. The continue to strengthen character behavior, embodying the characters, and to deepen their relationship. It is an opportunity to honor the complexity of the characters - while remaining simple, or adhering to the essence of the play. That is our goal over the next ten rehearsals. To put a rich foundation under the play, and to marry it with the technical elements, and share the play with an audience as courageously as we have been rehearsing and developing the play.

Goodnight,

Padraic

Fleet Week Complete

Howdy,

We ended the first week of rehearsal today by going through the first half of the play. The growth of the script and life of the characters is wonderful.  We have found some nice details in the moment to moment work that really strengthens the surprise of the stakes for the characters. In the past, with other plays and this one probably, I've been hesitant to find moments where the stakes drops and people are just talking, gossiping, getting along joyfully - especially in a two character play, because it is hard to define the stakes of those moments. And the conflict. This week has been a maturing for myself in this fashion because it is in those moments that we see that Bo and Ruthie truly belong together and the stakes come out expressing that. Eric T. and Jamie D. are finding the vulnerability that comes with letting your guard down - and never relinquishing what's at stakes, or what that lowered guard was there to protect. I'm glad I'm growing with the play.

The play is dependent on detailed work and everytime - last summer, Clark, and now - I tend to want more set pieces and actual props then is normal for a rehearsal. This is because the detail gets so strong that the play wants to move to 'reality' for behavior sake as soon as possible. We have most of what is required. There are a few things that still need to be discovered. I look forward to Sarah coming into the room on Wednesday to get her perspective.

Because the actors are ahead of schedule in rehearsal - I'm taking a page from the Clark production. Having all of us set goals for our work. The next rehearsal, the next week, and the run. My main goal is to stay focused on the development of the world of the play... and to tell the story. Oh, and also - Equity requires a 'fight choreographer' because Bo has to carry Ruthie... it seems silly. However, I like unions and what they do me and all their memebers - So I won't question it. The best thing that comes from it is that Qui will be coming during tech to help with the lifts. The quality of people involved just keeps getting better and better.

I wish everyone a wonderful Memorial Day.

Goodnight,

Padraic

I heard the play today

Howdy,

Andrea Haring came to rehearsal today and gave us a little of her time. Eric T. and Jamie D. have been doing some dialect work. With Andrea there today there was courage to push to dialect a bit. While doing it we started to hear the world of the play come alive. Scott has truly caught something in the dialogue. As Jamie hit certain phrases and sounds the personality of Ruthie started to pop. As did Bo's with Eric's work. Thank you Andrea. It is true that thru the voice the physicality, personality, and thought of the character begins to be experienced.

We are entering the end of our first week of rehearsal. The entire play has been put on its feet and worked. The actors growth is a treat to watch as much as their willingness to capture more of the play. 

Goodnight,

Padraic

Day Four

Howdy,

Okay, the work is still going very well. And for four days into rehearsal the depth of the acting work is amazing. Today though had two interesting glitches. One Eric T. was a tad intellectual for the first half of rehearsal. Now, he was aware of it and made an adjustment for the second half. That earlier part of rehearsal demonstrated how specific and detailed the work has to be for the play to succeed, and one half of an off day sometimes is the best way to be reminded of how good the work has been. The first half of rehearsal would be good in any other process. But - Bo and Ruthie are not being intellectual, they are innocent, vulnerable, and very much in the present. It is their view of the world, and watching them mature through the play that makes the journey so powerful. And that was made clear today.

The other thing is, as much as Scott and I love that there is a minimal design element to the play, there are some challenges. We believe the 'trap' door will work. We will see in the theater. We are still creating the illusion through stage activity of shutting a 'window'. I found a solution that seemed to work... but for Scott it was still an activity and not really clear or specific. The good news is we have two and a half weeks to find the right activity. This is where an additional $1,500 can always help, to go from what is really in the world of the play... to what is required to fully experience the story. I like our solutions thus far - I'm sure we will find an equally beautiful and simple solution for this. It is my first moment of difficulty in the limitation of the realization of the physical world. I look forward to sharing the answer with you.

The play is beautiful. Sometimes that forgets to get mentioned. Scott has written a lovely play. With beautiful arcs for the character, wonderful situation, and tremendous language. And there are a few rewrites that he has incorporated that were specific to notes from the last workshop, and some of the language inspired by the cast. It is a joy to continue to work on.

Goodnight,

Padraic

Day Three

Howdy,

The work is going very well. Again, the willingness to explore the work in more detail is really enriching the play. We went through about 13 pages on our feet. We discovered a shared moment of levity which supports why Bo and Ruthie belong together. 

We have most of the 'props' or set pieces in the rehearsal room. The bed is larger than before. It is twice the size of the workshop production. More in the spirit of a 'honeymoon' bed and what Scott was imagining. There is a moment or two that have to be rediscovered because of the size of the bed. However, the freedom of the size of the bed has really helped to support some new playing between the actors. Playing...good word for the work so far. It has been a very open process.

Regarding deepening the process, Andrea Haring has offered to come in Saturday to work on dialect. Thank you.

Also Jamie D. is committing to the physicalization of Ruthie - using the information generously shared by Jewdee. The benefit of going into production with the same cast that developed the play... is that they can really build on the foundation.

Scott went last night to an event for Off-Broadway Producers talking about partnering to produce. Scott talked about the importance of knowing your partner, that it is like a marriage and you need to trust them. There were some stories of difficulties shared but in our case the story is positive because Alchemy's support of the play and team that developed the project and with LAByrinth, not to paint too perfect a picture - there are issues - but ultimately the company is squarely about the work. And the work is what connects us. That spirit is true in the room.  The other thing they talked about is that the more people that get involved in producing something the more the expectation grows for the size of a show. This information reaffirmed with Scott that it is a great thing that we are pairing the show down to what is required in the physical production. It demonstrates a commitment to the play and trust in the work.

Goodnight,

Padraic

Day ja Two

Howdy,

There is always something to learn. Today we did table work on a play that I've done three readings of, a 75 hour workshop on, and another workshop at a college - and I discovered at least three things in details, and one larger picture theme. Overall I deepened my appreciation for actors. Eric T. and Jamie D. are really good. The work they did in the last workshop was tremendous. I am more impressed by their willingness to let that go and try to approach the play fresh from where they are now as artists. That willingness taught me a lot about the play today. And to be fair to myself and Scott - we are both bringing a year of personal growth to the work. Sharing of ourselves, asking questions, and responding to what we hear in an honest way has let the play teach us more. Oh, back to appreciation for actors...details, details, details. Getting honest, staying honest, be specific, even more specific, now connect all the work moment to moment. I'm watching them work toward that and it is a joy. The story of this play is the courage it takes to be fully present and vulnerable with another person to form a bond...and a what allows for the experience of the play to occur is the actor's courage every time to be present and vulnerable.

Since this is a blog about the process - a side note. I have found myself irritable the last couple of days before rehearsal or thinking about 'production' elements. The reason being I think because I've waited for a year for this production to happen. I don't want anything to get in the way or to shift it in a direction that will effect the ease of experience. Ridiculous. It is a process and we are miles ahead of any other process. My irritability is not rational. It is a bit like Bo's dilemma with Ruthie...the play is so lovely and perfect...I don't want to discover it's 'humanness' or flaws. And the flaws are where the true character reside. I hope in sharing this I'm able to let go of the expectation and experience this ride fully in and out of the rehearsal room.

The ride so far - so good.

Goodnight,

Padraic

Day One

Howdy,

Traditional first day of rehearsal. We introduced the players, presented design ideas, read the play...and then we got to work. I look forward to more of that.It was wonderful to be back in the room with the cast, Jessica, Lea, and Betsy. Sarah was missed. And looking forward to introducing Kate Rafey to the team. Nice to have Keenan, our intern from Colorado, on our team. Also, at rerhearsal - James, production manager, Fran- Development Director for Alchemy, Bob - Artistic Director of Alchemy Theater, Kpoe - Company Manager for LAByrinth, Veronica - Development Director for LAByrinth and Mimi - Company Member of LAByrinth. It is wonderful to have such great support on the project.

Getting down to work is exciting. Jamie and Eric are as lovely as ever to watch together. And the foundation of the work is there - now let's go deeper and more specific. 

One note - it is lovely to be in the rehearsal room at LAByrinth. The stage is taped out, Lea has unloaded costumes, and numerous set pieces. There are crates, buckets, and gardenias throughout the room. It looks like the play is home, and making the room feel like our home. This is the first time that I've rehearsed at the LAByrinth office. There is something special about having our own space to work. 

Well - got to go to rehearsal.

Goodnight,

Padraic

What's the point of development?

Howdy,

What's the point of development? It is to bring plays to the point of production. Tomorrow is the first day of rehearsal for our production of Sweet Storm.  It is very exciting and fulfilling. I was struck by this as I spoke with Lea about furniture placement. I had definite opinions about where crates would go, and the lantern, and the suitcases, etc... And I thought "I'm being very rigid about this. I'm usually very flexible and open to exploring. What's going on?" What was going on is - not only has the script of the play been developed - so has the physical movement of the play. The exploration in The Public LAB Series last year and again at Clark in the fall was a way of learning about the requirements of the play. The development process strengthened the understanding of the text, the depth of the play, as well as the physical requirements of the story telling. 

I am thrilled, and as I mentioned earlier in this blog - honored, that this play is venturing from 'development' to production. Tomorrow is a gift. We get to begin the experience of rediscovering this play. Allowing us to go deeper into the experience of this world while being supported by the foundation we have developed throughout this creative journey.

Goodnight,

Padraic

In Town

Howdy,

Scott Hudson and Lea are both in town from Florida. It is very exciting that the work is beginning in earnest. Lea is shopping for costumes, measuring the stage, arranging for a rehearsal bed...all good stuff. Scott is speaking at Maggie Flannigan's open house for her acting studio about the play, and probably about the genius that is Maggie.

The set that took weeks of getting to the bare essence and three bids to get within budget apparently took a day to built. It is built and in Ken's shop. It looks very exciting. I won't post pictures yet to keep an element of surprise.

I do want to take minute to acknowledge people who helped on the last production that may not be part of this time around. Lauren - congrats on graduating U. of Michigan. Becky - hope summer off from Amherst is awesome for you. David Jackson - son of  a preacher man, stop by when ever you can. And Martin, thank you. I saw him in the 'hood today and told him we did too good of a job in our workshop. Everyone believes they saw the whole set before and they also believe we can do it with nothing. The mechanics of our work were transparent and the result successful. I also appreciate your thought about camo-netting - which is also Lea's thought. Hearing it from you today confirm in my mind something I could picture... is in fact the way to go. 

I'm sure there are others that helped that may not be mentioned in this email. I hope you will be part of making this production possible. All of you are part of this project always. And I'm grateful to those we've met along the way and have been added to the family of the play. Leah and Dan from Clark, I can't wait to introduce you to Jamie and Eric T. I'm very glad to have Kate Rafey to be joining Jessica in bringing this play to life. There is something from every aspect of development connected to this play. As we enter into the beginning of rehearsal it is clear that the love and effort contributed by all the artists at Bennington, Clark, Alchemy, and The LAByrinth family are tightly woven into the fabric of this play. That is the beauty this play inspires... the faith and willingness to share yourself fully with another.

goodnight,

Padraic

Gratitude

Howdy,

Today I am struck by what an honor it is to revisit a play that you love with the cast and production team that you love. This will be my third time having this experience in my twenty-years of directing. It is a rare treat. It is a great honor. The other two times proved to be maturing experiences for the play and the artists involved. There was an ease and respect in the approach to the work. There is also love. Love that is similar to the experience of Ruthie and Bo in the play. It is full of the pleasure each gives to one another, the respect they have for each other, a feeling of wanting to be worthy and honoring each other - and ultimately like the two newlyweds wanting to make sure you give the other the life they deserve. 

As I have time to sit with the script and refocus on the specifics of the play it is with awareness of the honor we have been giving to revisit this play; to continue to grow with it and to help support its growth. Most of these postings have been about the development process. I'm not sure that today is about development, but it is about opportunities in life.  It is also an honor to continue to share this experience with whomever is reading the blog. I hope Jewdee, and any one who has shared comments with us or read along, - will once again join us in revisiting the work. Coming together with a group of people that you love, respect, and enjoy to work with is an honor. And for that --I am grateful.

Goodnight,

Padraic

pre-production

Howdy,

Today truly felt like the first day of moving from development to production. I met Gino this morning at The LAByrinth office. He dropped off a some props from Clark (buck knife, transistor radio, gardenias, etc.). I spoke with Lea about the height of the deck for the show, we are committing to 8 inches off the ground vs. 12. Thinking about sight lines. Her drawings for the shop are due today. Cuz they are really going to build it and really need time to do that. And then more than a few people in my daily travels from NYU, The Public, and Center Stage said things like 'how's Sweet Storm', 'can't wait to see it,''When do you open?"
That is the key difference between development and production - there is an expectation of product before the first day of rehearsal. I don't usually like to think about Product - I think because I value discovery the most about the process of rehearsal. However, with this play we've discovered a lot in the two readings, PublicLAB workshop, and the workshop at Clark. What is exciting about bringing it to Production is discovering the strength of the play...how deep it is and strong it is - and that it's beauty also has the muscle to support a long run and thorough investigation.
And the strength and beauty is captured in the poster design. I hope you check it out on the website as you go to purchase tickets to our production. It's a day about production...can't wait for May 19th, when we get back deep into the process.

goodnight,
Padraic

Essence

Howdy,

Received another drawing today from Lea and the new drafting. It is amazing what working within a budget can do for creativity and deciding what is needed. We went to the basics, floor, theatrical tree (which I love), and elevated platform. Things we cut - the roof, more symbolic of the gesture Bo did for Ruthie by putting a roof over his family's head. And the back wall - really required to stop the eye (I may regret this later) in The Public Theater. We are truly down to the essence of the work. We kept the elevated platform because we want to create the illusion that they are floating - that artistic idea could go away, but we very much want to utilize the height to support the idea of them climbing up into the treehouse through the trapdoor. There is great Catch 22 that occurred in the process. If we don't light the lantern we don't have to fireproof everything - which saves money. With that money we could afford all the things that we had to cut. If we fully realize the set we have to light the lantern. So, we can't afford it...it looks like the lantern may be lit with the magic of theater and the love of Ruthie and Bo.

We now move onto marketing...it takes a while to find the right image. Thankfully, Monique came in with some lovely photo images for the play. The Gardenia in a storm seems to feel right. Hope you agree. There's a production meeting Wednesday, let you all know how we are doing financially with creating the magical reality that is Sweet Storm.

Oh, and before I go, I'm very happy that Gino from Clark found the transistor radio and will be bringing props from Clark to the LAByrinth office on Friday. I also want to mention that Ken who's shop we are hoping will do the build of the set let Lea know that he found planking for the floor and that would cut the cost of the build. He thought the look of the floor was important and wanted to help make it possible. One thing that this process proves over and over again is that the development of plays only occurs through the effort and care of many.

Goodnight,

Padraic

Jamie Dunn

Let it Rain

Howdy,

Had a wonderful meeting with Sarah Sidman last week. We covered all the topics, late Fall Dusk, working lanterns, and more excitedly Sarah brought in an idea about pre-show. I don't usually think of pre-show as a time for telling the story. It is more of a time to create an environment to experience the play. Sarah's idea will do this. Oh, Sarah's idea was to not treat the space, the treehouse, as indoors, but to establish the outside environment - the rain, through sound and lights during the pre-show. When the play starts we are going to focus on the outside environment only how it is seen through the treehouse. This opening idea is a way for the storm to be realized in the audience's mind - and not seem so sudden at the end of the play. Well, it does a lot of things. The other designers, Scott, and myself think it's great.

Also, got an email from Betsy - who believes she can get all of what she needs regarding sound equipment. It is very exciting to start to put the pieces together all within a budget. It forces us to be creative, yet always serving the play. I wish I could attach a beautiful picture of what an ear monitor will do for making the transistor radio be a successful and beautiful element of the play. Until I can figure out how to do that - I will instead post a new design for a tree, that is within our budget, (I believe), and is very exciting artistically. Above is new draft of the model. I look forward to watching how the rest comes together. 

I was going to blog earlier but I was so happy to see Eric T. Miller's face on the blog I thought it best to it sit at the top of the sight for a while. Can't wait to see Jamie Dunn in video as well.

Goodnight,

Padraic

Eric T. Miller 4/20/09

Limitations allow for creativity

Howdy,

Talked with Lea tonight about her conversation with a prospective shop. Our desire for the design is very close to the budget. The discussion about the decisions that have to be made to come within the budget allowed us to think creatively about somethings we've wanted all along. We are going to look for a well designed, stylized, way to realize the tree. Freeing ourselves from the 'expense' of the realistic tree - then moves us toward, what is the world of the play we are creating, what does this tree have to be. It is an exciting conversation because we are trying to present this rich world of Scott's - without fully realizing it. The reason for not fully realizing it - is because the play grows in scope each time it is experienced, and it is important for the set to not to dwarf the play. It wants to allow for a vastness that resides in the poetry of Scott's world. Part of that vastness is in the imagination, so it is a dance ( a nice metaphor for this play) to find the balance of creating the world of the play while allowing for the imagination of the possible to take place in the audience's mind.

The conversation with Lea perfectly dovetailed with some of Scott's thoughts he shared with me today about the need for intimacy in the space. I love that everyone is thinking about the story of the play...and what is essential. Speaking of essential - the shop Lea talked to today said something lovely, when she suggested what might be able to be cut to save on costs, he cautioned her because he thought she had given just the right balance of what was required to communicate the world. So nice for him to recognize that. It encouraged us to talk about solutions in a different way.

I'm looking forward to my meeting with Sarah Sidman tomorrow, now the Knives and other Sharp Objectives is up and running, and her other show (Angela's Mixed Tape - I think) is out of tech. Very glad she is busy, happier that she is free to talk. Look forward to sharing those conversations - and answering questions about lanterns, matches, and late summer dusk.

goodnight,

Padraic

it's official

Howdy,

So today the announcement of the production is in the NYTimes. Alchemy Theater in association with LAByrinth Theater will present Sweet Storm at the Kirk Theater. Previews begin June 11th.

Almost the entire creative team is coming back and we also welcome Kate Rafey from the Clark production. She will be working backstage and assisting Jessica. It is very exciting that the announcement has been made. I will say the challenge from workshop to production are the same as on any play. We are now battling with achieving what is best for the play and working within the budget. That is a battle no matter what the budget. So far that challenge has added to thinking about what is the essence of the play. The designers, Scott, and myself agree what is most important is seeing the world through the Treehouse.  The orchard, the storm, time of day... all of it is important only in how it effects the world of Bo and Ruthie. The set, lighting, and sound will support this idea. To use a word from my conversation with Sarah - 'elegant'.  The minimal presentation will give us an elegant production of this beautiful play.

Clark is lending us some props from the workshop we did there. And Lea has been shopping - finding bargains, for gardenias, period coolers, fishing tackle. The work in earnest is beginning.

Tomorrow the set goes to a shop to be bid. From there we learn if our desire for what we think is 'minimal' is within our budget. And then conversations will begin again - around what is essential. The question of what is 'essential' has been what has taught me the most about the play. A door, a tree, a bed... and vulnerable first time lovers. That is what is essential for this play.

Above is the image of the set at the moment. Look forward to continued discussions and reading the NYTimes on the subway tomorrow. 

Goodnight,

Padraic

From Dev. to Production

Howdy,

So, we've been in the process of bringing the play to full production. More details to follow - but look for it to happen in June. I've decided to blog about the process because I've been doing a study in Web 2.0 and the value of sharing the process step by step with any one interested. I hope you're interested.
The main challenge of guiding the play to full production is courage. Courage to evolve beyond the magic of the 'rehearsal' room atmosphere that made the play a success. Part of the success, in my opinion, was the imagination of the audience to fill in the reality of the treehouse, and environment. The acting was simple - guiding the audience to experience the play - the sound was similar - we also allowed people see us make the some of the sounds and the board ops were present. It was as if we were making the audience aware that they were being told a story, a romantic bedtime story and then slowly the story tellers went away and the audience was swept up in the reality of the story they were watching.
The designers and I agree when moving into the theater we want to fully realize the production. Yet we don't want to lose the magic of the story telling. The magic isn't just in the imagination of the the audience, or the power of theater. There is magic in the play. It is a story of people being trapped in a limited physical environment - but vastness outside the space contains great possibilities. That vastness of the possibility inside the treehouse - as well as the 'magic' that resides in the play wants to be realized in the set. Thankfully Lea has done a wonderful job bringing me slowly along from the minimal rehearsal room feeling to the three walls and roof version and then back to a minimal magical version of the set. (above are sketches of one full wall - then two walls) That journey was required so I knew that I was making decisions not out of fear of change from what we did before...but out of what is the most effective way of sharing the story with audience inside a theater on a night to night basis. At some point...it will no longer be rehearsal, and the play has to stand fully on it's legs and claim itself fully in the theater. I believe we are on the path to a design that will strengthen the experience of the play.
One thing Lea and I talked about is that it is important for the audience to be able to see the treehouse through the eyes of Ruthie and then equally through the eyes of Bo. By providing a minimal framework of what the house is - the audience has the flexibility to shift their view of the tree house. It is my hope that the view of the house will continuously shift as the story grows. Eventually it will settle as the environment is no longer the issue for the characters - and shifts to what is happening between them that matters more, and the elements will allow us to focus more on their internal journey.
As we get close to finalizing the set Lea and I will share more sketches.
I hope to share more of the journey was we continue to design the play.

Fun facts: Scott has some rewrites. And Clark University is generously helping with some props.

goodnight,

Padraic

Scott Hudson and Padraic Lillis discuss "Sweet Storm" (video)

After the Public LAB run of "Sweet Storm" had ended, Scott and Padraic reminisced at the afterparty for LAByrinth's benefit reading of "Jesus Hopped the 'A' Train" in New York, June 22, 2008.