First, it's been a real luxury to have some "free" time to put toward working on the adaptation of the script I'll be directing (starting in a week...eek) for rotation 2; finalizing a working text based on conflating/writing from 4 different translations, going back in to work in elements of the interpretive adaptation I'm doing, and getting time to work with my designers and let them act as dramaturgs through their work are all things I would not have had as much time for had I been directing on the rotation. (But I bet I'll be ready for a break after 2 straight months of directing...)
But more to the point, I've had the privilege and pleasure of getting to watch my FF's (fellow Fellows...) work. I've seen runs of all 3 shows and am really impressed by the diversity of perspectives, styles and techniques each has employed, both in rehearsal and production. Adam is a model of efficiency--he (and our great KIDDSTUFF SM Jeannine) run a tight ship, but the energy in the room is always positive and fun. Lydia has done great work immersing her cast in a physical style and a style of play very new to most. SHe has put them through the proverbial paces (lots of Suzuki, slow movement, integrating visual research into what I call 'living mask' work) and they and Adrienne Kennedy's play are the better for the experience. Lauren has done a very clear cutting of a longer text and done exciting work using movement (think Bill T. Jones) to give a classic piece both a sexy contemporary edge, and a dramaturgical clarity.
I also feel like I've got a better grasp on how to plan my rehearsals and think about the coming work. I feel like I've gotten a sneak preview' of the actors' work both in rehearsal and on stage. Ditto for the endlessly surprising WEDGE space and the Niederkorn MainStage, where my KIDDSTUFF show will be. I know more about how these spaces work, and how to work with these actors in rehearsal.
That said, there have certainly been challenges, too. Any time of change is overwhelming, and the challenges presented by the extraordinary amount of work and daring demanded of everyone in the Lab Company has understandably overwhelmed some people. One of my goals for myself this summer is to 'push myself and others' to limits that allow the best work to emerge; it's been a good experience for me to help allay the fears and frustration of my company members, while at the same time helping these young artists to understand the requirements and challenges inherent in this demanding profession. Giving notes to my FF's has also bee a great exercise for me--it forces me to think with a real clarity and perspective about storytelling, the directors' intent, the actors' work and potential in given roles and limited time, etc. It's a terrific exercise in 'being in it and out of it' at the same time--an essential skill for a director.
I'm now play producer on our first day of tech, me and my laptop shoved in a corner on the upper level with my feet tangled in cables and cords and my butt going to sleep on a really uncomfortable plastic folding chair. Ah, the glamorous life. But it does make me think about an interview with Tom Hulce that I read in The New York Times about a year ago. He was talking about producing Spring Awakening (directed by DL alum Michael Mayer...), and the interviewer had asked him what he likes about producing. His response was something to the effect of 'acting is a task where you're responsible for one very important but very specific piece of the whole. As a producer, you get to roll around and get dirty in all of it." I've certainly gotten dirty--from people's tears to transportation to teaching to tech troubles--and it's been surprisingly fulfilling.
I'm just glad I don't have to fundraise...
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