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.

A photo from the Clark production...

Sadness, Accomplishment, Development

Howdy,

Tonight was the closing night of the run at Clark. It went wonderfully. All four performances were full. The audience responded to everything. They were fully engaged from point one - according to Kate Rafey. The actors said the play continued to grow. I'm going to write about that in a moment...but before tonight's final performance on the blog was the most generous comment from Jewdee - it's from a posting two days ago - and you have to read it. It confirmed from experience everything that Leah, Jamie D, Scott, and myself have been aiming for in the character of Ruthie. I wish I had these words for rehearsal because they so accurately describe what we are striving for - from experience. When I read it I was stroke by the generosity of spirit Jewdee has in sharing her insight. Then I was upset because I wanted to apply this information, apply it better, if possible. And then I realized this blog is part of the development process. This information Jewdee shared with us all will be here for as long as the blog is here...and is a reference point for every production that happens of this play. And that in itself is incredibly valuable...and for that not only do I thank Jewdee, but Trevor at LAByrinth for suggesting the blog for the process.

At 11:15PM tonight I finally called Kate Rafey (best collegiate stage manager ever) and learned she was sad that it was over. "It should still keep running. The actors are still growing..and it's so good." Dan's mom came a second time and thought it was better. And Dan is anxious to apply what he has learned to his next project...which may be some Shanley short plays (keeping it in the LAB family) and Leah doesn't want it to end. Which of course it's not going to. The play will get done again. Hopefully in New York. But in the conversation about their growth in this process, it was heart warming to hear about the sadness that they were feeling. Sad, not because they were going to miss each other, or the magical bond of the play, but a sadness that tends to be mixed evenly with pride. Proud of what you have done, and a feeling that sits deep within you...yearns to be recognized - and even when it is...wants more than anything to be sustained. In your next project, the continuation of this project...in some way...wanting to be recognized for doing something extraordinary. And everyone involved in the Clark production of Sweet Storm is feeling that contradiction that sits in the title - they are sad that this lag of the journey has ended but they are very proud of how far they came. And so am I. The play is stronger and better for everything that Kate Rafey, Dan Derks, and Leah Henoch brought to it. Thank you.

Goodnight,
Padraic

Development from afar or Love is in the Air

Howdy,

When I remounted The Dirty Talk with Kevin and Sidney - I remember talking about at rehearsal that it is a privilege to be able to revisit a play you love. Once in a decade type of an event in a career. It is actually a fourth in a lifetime event for me with Sweet Storm. This is the first revisit I've had with a different cast - but it is equally as special. And what makes it special is the investment everyone puts into the play. This play demands it - because it's about allowing us to be loved and to love. And you can't do that half assed. As I mentioned I could only see the first performance at Clark. Mainly because I had committed to get back to the LAByrinth Master Classes on Sunday and Monday - and you can't get from Worcester to NYC very easily - so I had to return Saturday morning. I have been honored the last two nights to get a call from the stage manager, Kate Rafey (the best college stage manager ever) and Dan and Leah - both nights reporting on the growth of the play and setting goals for tomorrow's performance. Goals of growth. And it really reminds me of the three performances we did at The Public with Jamie D. and Eric T. because in each of those we pushed for growth. And each show got better and better - and it sounds like that is happening in Clark as well.

A valuable lesson was learned by both actors tonight. Saturday's prep was so good and so strong...that they set new goals and made the assumption that there prep would be there because it was there last night. Something they won't do Monday because they both realized they still have to do the prep to realize the early moments of the play. At the same time they knew it wasn't as strong and they put the focus on the other and trusted them, invested in them, and as Kate Rafey texted me...'the actors were good'.
I love getting the calls at night to hear how it went, and what they want to strengthen tomorrow. I love that they care about the play as much as I do, and Jamie, Eric, Jessica, Lea, Betsy, Sarah, Martin and all do.
My quote of the night comes from Dan (Bo)- "It's amazing we are able to approach each performance as an opportunity of growth. Usually you're going on stage trying to make up for things you didn't get to in the process. Here we're not trying to catch up, we're trying to add to it. And make it more specific. And that's really cool."
That's the feckin' spirit of LAByrinth if I ever heard it.

Goodnight,
Padraic

UP and UP

Howdy,

The production/workshop at Clark is up and running. It opened last night and was tremendous. The actors really are giving it their all and is a lovely piece for young actors. The one thing that is great about Sweet Storm is it holds what ever ability you have and supports that story. But as the actors get more specific and go deeper - it will tell that story too. And from all reports the second night...which I missed. We rehearsed today at noon, working a few points, mainly finding points of release for Ruthie, where she doesn't have to hold back. She found them. And from all reports it went even better today than yesterday. Which is all anyone can ask. Both actors called me seperately after the show to say how good the other actor was. That was fantastic. Also, Leah pointed out the feeling in the beginning of the play of the audience thinking Bo is so nice and that Ruthie is a little whiney helped her because that energy - she realized is probably what happens to these characters in real life. Bo is considered great for marrying and caring for a sick girl, and she doesn't appear grateful enough. I liked hearing it as an acting tool...and as an accurate journey the audience goes on with the two of them.

One note for the next full production - Clark got fake gardenias...and boy those are impressive flowers. It makes the whole room look fuller and about the burst. At Clark we had a similiar set as at The Public but with interesting flats and the stage was raised a foot off the ground. We were able to convey the idea of height and climbing into the tree house. Still no trapdoor - but the elevation was realized. And it does help tell the story.

I hope the play happens in NYC - and that the Clark team gets to meet the NYC team. I know the Leah, Dan, and Kate Rafey - the stage manager - would love it.

Goodnight,
Padraic

The value in working slow

Howdy,

I wish this workshop at Clark was happening in the NYC so everyone could see it. Obviously, Jamie Dunn and Eric T. Miller were brilliant. But these two students - Leah and Dan are knocking it out. Really growing every day and doing all they can to bring these two to life. It is a treat to work with them. I've learned a lot about the play, the need for an astute sharp eye, and the basics of acting - the stakes are invested in the other person. That btw was a great reminder from a conversation with Charles Goforth.

My Quick findings:
Both characters are in a similar place of status to one another.
If each is trying to be worthy (in some form or another) of the other's love it keeps it very active and the stakes are always present.
If Ruthie is investing in Bo getting what he deserves...it makes her less 'spoiled' as it were. It takes away from her dissappointment it makes it more about her love for him and she becomes much more sympathetic. (By much more - I mean a tremendous amount to the subtle eye of someone who knows the play really well - but it's better.)
It seems obvious that the stakes reside in the other person...but it does take working with students to remind you of the obvious so that to ensure that the emotions of self identifying pain of Ruthie's is grounded - or more empathetic.

I'm looking forward to seeing how this effects the rehearsals and discoveries when we go back to work on the play in NYC this Spring. Stay tuned for more information.

Goodnight,
Padraic

God is in the details

Howdy,

I was invited to Clark to work on this play with students because my friend who teaches here saw the presentation at The Public LAB series in June. I realize now that our designers were so good, so good, that he didn't realize how hard the play is. By that I mean...where are you going to get 50 gardenias, and these sound cues, and wait...the clothes get chocolate on them every night, and she has to change clothes on stage? I mention all of this because our designers were so good that few people noticed all the detail in finding the right dress, the right nightgown, the right pair of boxers...all of it. Because working with students in a 'workshop' no one is specifically in charge of anything. So, the phrase I keep repeating is "Yes, the clothes are simple, but they have to be specific." You can substitute the word 'clothes' with any other that applies to the play.
I'm not complaining - just grateful for the efforts of others.

Also, I'm watching the specifics of the actors, and how lazer specific the internal life needs to be great in a play. Pushing Leah - the actress playing Ruthie to get specific when Bo is pushing her to tell him what she wants...In trying to get her to name the one thing that would make her happy...She named being able to 'successfully' consummate the marriage. And it took a while to get that answer, I didn't know it was the answer - I actually thought the answer was " I don't know" but wanted to push so she could feel the frustration of not knowing...but when that answer came out, it helped to clarify how she is listening. It also made the stakes and fears specific for her. And I realized, yes, when I don't know...there is always a specific tartget of need, want, or fear...and that specificness is what makes the behavior in acting exciting and engaging.

Scott's rewrite is great. It took the actors a couple of days to make it not jarring to my ear to hear something new. And now that have a sense of ownership of it...the change is very powerful. That Scott Hudson is a feckin' good writer.

Goodnight,

Padraic

Continuous Learning

Howdy,

What is great about taking a play back into development, and with new actors, is you hear it differently. Working with Leah and Dan at Clark - I've heard some of the levels of humor and friendship that need to be a little more present in the play. Also, I'm learning about the specifics of love, what is it exactly these two individuals get from the other - in just their relationship. Just by knowing and being with the other that they get from no other. Watching these two young actors discuss that with each other today really deepened how specific this relationship, well probably every relationship is, but specifically this one for the play - how their interactions inform their relationship to the world and the journey. (I'm leaving the word journey in the blog...it seems less specific than I want to be but for now - it stays.)
This play is wonderful to work on with students - because it works with what ever level of specificness you are capable of achieving in action and emotion. The deeper and more specific work you do the stronger the play. It can support you and you learn - and expand with the actor. Also, it forces you to keep learning and growing. I saw Jamie at the LAB party last night - and she said she still is stopped in the middle of doing something with an "Aha" moment about a moment in SWEET STORM.
those "Aha" moments make it a great play to work on with young actors.
Okay - I'm hoping to keep this blog up. I hope to learn more about the development process - if not of the play, maybe of actors and directors.

Goodnight,
Padraic

Life after the Summer Winds

Howdy,

I am in LAByrinth's off speaking with Trevor, who began the idea of blogging for the Play Development Process of the Public LAB presentation of SWEET STORM, and we were talking about the value of the blog in all of our Development or Production Processes. And well - I'm a fan. I love sharing the process with you - whomever you are, because I think the process of creating a play is challenging and should never be done alone. And sharing my experience with you - makes me understand it better, and possibly for those of you venturing into your own process reading these postings will give you comfort in your process. And for the voyeur or fan who is just curious what's happening with this play...hey good to see you again.

Two things happening with Scott Hudson's SWEET STORM. The first is after seeing the play at the Public LAB in June Clark University invited me up to work on the play with their students. We are doing a presentation with the similar level of tech as the Public LAB. It is more of a workshop for the actors. Who, thus far, are great. Leah and Dan are playing Ruthie and Bo. They are meeting every challenge and working as hard as they can. And they love the play. I also have the fortune of a brilliant post grad stage manager - Kate who is holding the tree house together as I commute to Worcester, MA and NYC. We are doing the presentations in a wonderful rehearsal room with a giant tree blowing outside the window. We are hoping to light this tree for our presentation - hopefully the wind and rain will be there too. For more details - I will share as they come.
Oh - and Scott added some text that we are trying out. So far so good.

Second piece of news: there is a theater company in New York interested in producing the play in the Spring of '09. It is still in the discussion phase as of now - so I won't mention the Company involved. But I will say that their interest stems from seeing the Public LAB presentation as well - and that they thought the play was beautiful and about the risk involved in allowing another person to love you. And the absence of cynism - was not only heart warming, but also a little threatening - and something that the world should experience today. All of that was lovely.

Now that Trevor has jogged my memory of the blogging - I'll keep you posted about the Clark Presentation, and any news on the possible Spring Production.

Goodnight,

Padraic

Follow Up

Howdy,

Hope all had a lovely 4th of July weekend. I didn't want to post because I love the picture of the company that worked on the production being the last shot on the blog. But then I realized eventually there would be other posts - so might as well go now. Also, Scott and I had a very productive follow up conversation on Thursday regarding the play and the process. Thank you to all of the comments, on the blog and in person. We really talked about - maybe this is directing and acting thought - but we talked about how when Ruthie really captures the Southern sweet girl she was before getting Polio - it really taps into the struggle she is facing as she confronts the negativity she is allowing to creep in. We also discussed with the wonderful detail work Eric T. and Jamie D. were doing, it allowed us to focus on the behavior of their relationship before the illness. I look forward to incorporating more of that work in any future productions. Also, Scott and I discussed the value of naming the illness, polio, in the play - it would have to organic and not expositional, but we don't want people guessing...for too long about what happened to Ruthie. That was a very useful note from the blog. Thank you for that.

Goodnight,

Padraic

The Cast and Crew!

Here's the team for Sweet Storm (not the whole team, but everyone present), assembled after the dress rehearsal, Thursday 6/19/08.


From left to right: Carly Whitaker (our Assistant Scenic Designer from Bennington), Sarah Sidman (one of LAB's fantastic Lighting Designers), Jamie Dunn (the one and only Ruthie), Jessica J. Felix (our tremendous Stage Manager), Eric T. Miller (the one and only Bo), Padraic our fine director, Martin Andrew (Scenic Designer), the playwright himself Scott Hudson, Elizabeth Rhodes (one of LAB's great Sound Designers), Lauren Lopez (production assistant extraordinaire), David Jackson (Assistant Director - and a genius with his own company, Impetuous Theater), and Becky Harris (our other Production Assistant extraordinaire).

Beautiful Photo by Thom Kaine.

Production Photos 3

Here's my favorite: Jamie Dunn and Eric T. Miller, photo by Thom Kaine.

Production Photos 2

The second batch: Jamie Dunn and Eric T. Miller. Photos by the great Thom Kaine.

Production Photos 1

Here are the first of the production photos! Thom Kaine took these shots at the dress rehearsal on Thursday evening 6/19, and I think they're great. If you want to see more of his work, you can do so here. All the photos are of Eric T. Miller (playing Bo) and Jamie Dunn (playing Ruthie).