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