Prewriting with solo themes

We’ve just begun our next show.  There’s no title, and we’ve got to have one by the end of our first rehearsal, because the fringe guide deadline is the day after.  The company just closed Andy’s World, and that was fun.  We really blasted one guy in the face on the last night, with a very overgrown water-squib mouse.  The play was devised using the cast itself as its sole point of departure.  In our first play in LA, Betsy Moore and I met and I asked, “what play do you want to make?”  We soon decided on the character of Freebird, and created Freebird Goes to Mars.  In our second show, I was curious, what would happen if we did the same, with multiple devisers?  Ask them, “what do you want to make?”  “What’s going on in your life?”  “What do you want to do?”  …And then find a way to reconcile all of this.  The result was Andy’s World.  The crowd had a good time.  People said, “fun,” “refreshing,”  and they also said, “how does it all come together?”  People had fun.  They were moved, they were present.  But this note came up a couple times, that while each character was rich, the connections were not always clear.


Here’s Brian’s view of things:


In our next show, I’d like to continue to tap the raw hearts of the performers, but allow it to flow through a set framework, a story, or type of stories.  So I picked up “Hero with 1000 Faces” and there’s a number of chapters and subchapters to the typical hero’s journey.  Like a to-do list for me, as director.  So while everyone involved (Julia, Alec, Catherine, Jeff, Alex) knows they’re free to create what they want, they’re also aware that they’ll be a process of compromise between these solo-bred worlds and the whole play.  But each of us will find a place for our contributions in the to-do list.




Leave a Reply

Your email address will not be published.