On Directing as the Playwright

We're entering a more frenetic time, production-wise. The flurry of activity and tension is due to the fact we're scheduled to film the video segments of the play this weekend-- and thus need costumes, lines, and scene work to be spot on-- and also because we're about two rehearsal days behind where I'd like to be. It's unusual for me; most of the time I'm able to pace the process more closely, but so many elements (and as I've said before, so much physical movement) have made it more difficult. Yesterday was the first formal "off book" day. It was rough, but in general they did pretty well. There are glimmers of beauty, but a lot of mud to clean up. So I thought I'd talk about my approach to directing, particularly as it relates to the strengths and weaknesses of being the playwright.

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Why Meadowland, Why Now?

Rehearsal, rehearsal. On Monday we focused primarily on the romantic scenes between the Investigator and Sister-in-Law. They're right at that tentative point where the memorization and the emotional journeys are almost connected. So close, in fact, that I felt bad knowing that we weren't scheduled to re-visit the scenes for a week, and I asked them if they'd be willing to rehearse with the AD and AAD on Tuesday, while I worked the dance and fight choreography with Misha. They agreed, and that's what we did. I hope to have some footage from yesterday's choreography up soon.

But today's topic is why Meadowland, why now? What made us take on this work right now, from both the artistic and the political perspective.

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