Alex and I have had life take us over. Children, other productions, work, houses, etc. You know, the usual stuff.

We both still mourn that Graves never got it’s first performance. And that mourning drives us to continue working on the piece.

I’m about to open a show at Spotlighters next week, but once that’s done it’s back to focusing on Graves and the other projects Alex & I have in the works. We’ve been missing working together more than words can describe.

We’re batting around a few ideas. I’m going to be working on a full blow website for the projects Alex & I work on. So lots of things in the works. We’ll keep you posted!

Currently Alex is working on potentially securing a really beautifully intimate space. A 60 seat theatre which will allow the actors to really be there with the patrons. I’m also submitting the show to Spots for their 2010 – 2011 Season and keeping an eye out to see if there are any other theaters that may be interested in the project.

We realize that we can’t put all our eggs in one basket. We’ve got to spread it around and look for the opportunities that are out there instead of focusing on what we don’t have at this point (i.e. a venue to perform in!).

Onward!

It’s hard to be without actors that started this project with you, but sometimes life comes before theatre. (amazing concept)

So the project gets pushed back & pushed back again. Sometimes it’s easier when you start a project with a secured space. You have a set date/time/rehearsal space/schedule/etc. It definitely makes life a bit easier. At the same time you can be bound by so much.

There are always other things going on at the theatre that you must work around.

If the space is rehearsing two shows, you have to be mindful & considerate of the other person.

It’s a catch 22. One option provides more security, one option provides more freedom.

C’est la vie! Always moving forward.

They’ve been a little quiet lately because of the snafu we ran into with our space for Halloween weekend.

Alex & I had settled on a second place to submit a proposal to, did it and have been waiting to hear back.

Just yesterday I found the response emails in my spam (I have such a crappy email client sometimes…) and looks like we’re pushing the project into the new year to make sure that we can have a week in the space before the show goes up.

On a sad note, we lost one of our actresses. She will definitely be missed, but totally realize that sometimes personal things take precedent over theatre (as much as we try to fight it). Alex & I wish Robin luck and hope we can reconnect with her in the future.

So looking for a replacement, or maybe someone to take on new voices within the piece. Which could totally change everything up. But that’s the fun, isn’t it?

~Lynn

Fall semester I directed & produced Sweet Eros by Terrence McNally. I loved working on that show. It’s a story in essence about stockholm syndrome (when the person kidnapped starts to identify with the kidnapper, sometimes they fall in love, etc.) but the entire time the female is supposed to be naked on stage. And she doesn’t speak, only sings briefly. We get the whole story from the words of the kidnapper (we never learn his name if I remember correctly) and he takes us on a journey that is a range of emotions. It’s a heavy piece no doubt, but then I kind of enjoy the challenge that an intense piece of theatre gives me.

So second semester seniors usually have an internship or a senior project (where they direct/write/act in a piece & produce it). When asked what I was thinking about doing, I said I’d like to work on Sweet Eros again, I think I scratched the surface with the production and would like to try again. My advisors, cocking their heads, told me I was too young to do something like that. That is for old artists with much more experience than I. When you’re young you want to expose yourselves to as many projects as possible and get a wide range of experience.

I heeded their advice at the time, accepting a PR/Marketing internship at On The Boards and an “Assistant to the Director” internship at Intiman (because they don’t have “assistant directors” that are interns at LORT B theatres from what I’ve seen). I’m completely grateful for the way it turned out, I learned tons working with B.J. Jones of Northlight Theatre when I was at Intiman, he even gave me my copy of A Director Prepares, which I cherish dearly. At OtB I learned what it takes to market a theatre/performance space and a show, plus I got a healthy dose of experimental international performance-based (as I like to call it) art that I would have probably not been exposed to as much. My taste and sometimes my aesthetic tend to run on the experimental side, and working there taught me a lot about what I liked, what I didn’t and what an audience will put up with.

Now that I’m a few years older, I’m trying to strike out and do work that really means something to me. Alex Hewett and myself have been working on a project we call Graves in the Water (based on Edgar Lee Masters’ Spoon River Anthology), which is a generative piece. I guess some don’t fully understand generative art because there is no right & wrong in your process, it is all about the process. I love the discoveries we’ve made along the way, not knowing everything at the on-start may freak some people out, but to me I think it maximizes the potential of what one can do. So I’m not heeding the advice of those wise advisors I had in college and I’ve taken on a project that will be seen in many iterations. I’m excited to get it up in front of an audience for the first time and see what we learn.

Btw, sad side note: Graves was originally supposed to premiere at The Strand on Halloween weekend. Due to unforeseen circumstances the show has been canceled, but we’re in the midst of negotiating for it to be performed in December at another location. More info as it becomes available. I’ve truly been blessed on this project to work with a group of artists that are so supportive of every path that has been taken. Hope you’ll join us for the ride!

Graves in the Water is no different.

Since this Halloween is the first time the piece is being performed, as the director I’ve been struggling with coming up with an order for the piece. We’ve found individual thru lines for each actor, but are missing one for the whole show.

So I said “fuck it” and suggested to my cast that we work off of our own inspiration. Maybe it’s because I spent my birthday weekend at the Baltimore Improv Festival or maybe I just couldn’t make up my mind, but I think having a “no structure” format will make this piece exciting, new & fresh each time it’s performed (for the actors & the audience).

Here’s what I mean by “no structure”:

The evening will start with Mrs. Kessler and end with Edith Conant, but everything in between is not set.  The actors work off their own inspiration, they must listen & react to what is being said around them to find who goes next.

There are some challenges with doing the piece this way, mainly sometimes the actors get “stuck” and aren’t sure who should go next, but in rehearsal we are working on that. The first time I actually had them work in this “no structure” format I let them improv the actual pieces, speaking subtext that kind of thing. They worked off of the inspiration provided by the previous character. Now our focus is shifting on to “opposites” or impulses that pull you away from the character previous. This allows the actors to come from a place where they feel comfortable and gives them the freedom not to get stuck.

For some this lack of control may be difficult, but as a director I love the opportunities to let go of that and to just really trust my actors. I mean I hired them for a reason, didn’t I?

We’ll see where it goes from here!

~Lynn

Originally posted on October 11, 2009 on the B-more Theatre blog.

It’s amazing the energy a graveyard gives off. You are surrounded by the history of hundreds that all ended up in their one little plot of land.

Some families have plots or mausoleum, some individuals have large markers or a tomb. What a person’s grave site looks like says a lot about the impact they’ve made on the world around them.

Last Saturday we had rehearsal in Greenmount Cemetery. Normally this might be considered a little strange, but for us it made sense. The piece we’re working on takes place in a graveyard, so why not get the visceral experience of speaking with hundreds of souls surrounding you?

What really struck me was how many of those graves we visited never really saw visitors any more. The section we were in seemed to have a lot of graves of individuals that died in the 50′s, I even found a family plot for the Mortons, though I don’t think there is any relation. I thought about how many of these people laying here no longer receive visitors, no one comes to mourn for them. I wonder if all their family is dead and if not, are they remembered enough to be visited?

We did an exercise to warm up where I had the two actresses tell me the story of a person in the cemetery. It’s kind of amazing the information you can gather from such a small plot of land. Our history is written by those that bury us.

Like the Leary’s, Thomas Leary’s mother was buried there, his wife too. They had a large plot marker, like it was meant to be a family plot, but no children were buried there. They could have had children that were buried elsewhere in the world, but a family plot is usually something that is known about, yes? He died after his wife and is buried between the two women that loved him the most.

We also met a woman, Harriett (I believe was her name), who survived her husband. He was a doctor, died in his 40′s or 50′s, but poor Harriet lived without him for another 40+ years. She shares his grave site though, they are buried on top of each other, lying together for an eternity. Next to her is where her son is buried, died when he was 21. She survived the two men she loved most and had to live on without them. Someone cared for her and her family though, the have a large stone marker than covers her & her husband’s entire site.

It was a really great day, I appreciated the opportunity to get out of the rehearsal space and experience something different. It’s amazing what getting out of the normal comfort zone of the rehearsal space will teach you.

~Lynn

Originally posted on May 2, 2009 on the B-more Theatre blog.

Well I’m soon to be swimming in the Spoon River. Not really though that could be something to try. What I mean by this is that a theatre colleague of mine, Alex Hewett (see the post called “Addicted”) and I are going to working on a project we are tentatively calling “The Women of Spoon River”.

This all came about when I was working on Watch, A Haunting back in October and one of the books that we used in the show as a prop was The Spoon River Anthology by Edgar Lee Masters. She made a comment about how much she loved it and I told her how I loved it as well. All of a sudden things clicked and a project was born.

So we are going to start working on it now, identifying the poems we would like to work on, as well as recruiting two other actresses to work on the piece once we get into rehearsals. I’m directing, Alex will be acting and we both will be piecing together this piece, writing when needed, etc.

I’m really excited to start working on it! We do know that we will be running Halloween weekend and that we will be a part of Free Fall Baltimore at the Strand.

I’ll keep you updated via this blog on our process and what we’re doing. Generative work is what feeds my soul and I love that I’ve found a long term project to work on with an artist I respect immensely. Yes, I did say long term, so though the show goes up in October, that won’t be the last time you see this piece.

~Lynn