So, how do you simulate an earthquake on stage? That was the question from Tuesday night’s rehearsal. Would you present it visually, in shadows, with lighting, with sound, through projection, etc…? Or a combination of all? Posing that question to a very creative cast can be inspriring on one hand, yet dangerous on the other? Would they all go in different directions? Would they not be invested in it together as a whole? Even more so, would they tire of spending a whole rehearsal on something that will last 80 seconds on stage? All of these questions were of course answered, and what was created was significantly different than I had imagined in my head, yet with the same information communicated to the audience. I wanted to deliver a feeling of normalcy; experience; tragedy; aftermath in 80 seconds. Something that wasn’t about the characters of the play; but revealed the atmosphere that the characters would be living in once the play started. We had wonderful discoveries; all of which I think will be very effective on stage.
Love Bombing After The Earthquake is not a sad play or depressing play. It is a very active play about confrontations, necessity, opportunity and survival. It is an intense play about intense moments. The cast understands that.
As a director, I have general guidelines for the first week. Some differ from directors which I have worked with in the past; some don’t. 1. I don’t expect too much too soon. I don’t expect even the best actors to grasp every motivation, action, and direction from the start. I give things in bits and allow them to spend some time with it. With this the best actors can usually find it and then create something with it. I’m there to shape it and make sure they don’t get lost. 2. I like to discuss characters in piecemeal. I don’t see the point of having massive discussions and unloading to the actor. They’ll never retain, not will they understand it. Instead, I select a starting point, whether it is an action, an objective, a moment in time, an atmosphere, and build the character over time. I will take them aside and ask a question, “What do you think…?” The next day I’ll ask another question, “In this situation…” This allows the director/actor relationship to be an ongoing creative process without the actor drowning in info. 3. I read the scene with the actors involved. We look at certain intentions, words, meaning. In new plays, can this word or sentence be changed? What are operative words? And most importantly, what are the tactics, actions, and the struggle. Then we’ll get on our feet. Sometimes we’ll read half a scene; get on our feet; then read the other, etc…4. I never, never, ever block early. I rehearse in atmospheres and moods, allowing the actors to find their characters first. I usually find then that characters end up blocking themselves in a very similar manner. In stylized situations though I will have more of a heavy hand.
This week we followed all of these guidelines and started creating some wonderful moments. As the writer, I was also relieved to watch the actors get excited about scenes and have a lot of input as to how their characters were developing and how scenes would be most effective.
There were a couple set-backs. Not anything too much, mostly textual. A few beats had to be rewritten, as they either felt choppy, or not enough information was being revealed through action to push the story. Michael Carnow (assistant director) has been very effective in this capacity in helping me flush out certain things.
We have tonight and tomorrow off. When I’m not celebrating my son’s birthday, I will spend it rewriting.
each other. Because of the nature of the beast, Monday will be the first time I’ve had everyone together since the first rehearsal. Andy has been at Meadow Brook, Caroline worked in NY for a week, and Shannon was working in Tuscon for a few days. Put that together with a new script, you have rehearsing in piecemeal. It’s all good now though, so the goal for the week is comfortability.
