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THAT'S WHAT WE'RE HERE FOR (AN AMERICAN PAGEANT) could probably use projections. In fact, I think it demands them.
Slides or video? Or both? And of what? How literal or abstract? Or varied?
And . . . the text. The sound cues that inspired the show should be just that only, inspiration. I'll be using them, and some of them will be lip-synced to at points, but there will have to be dialogue.
But as opposed to most of my plays, I don't want the dialogue to be collaged from other sources, so I'll be making it up on the fly in rehearsal. I planned this but more and more I'm wondering how "straight" or "fragmented/repetitious" the lines should be.
Again, don't know why I'm worrying about this now. Nothing will become clear until rehearsing with the actual actors in the actual space. Starting April 23.
I didn't want to be overinfluenced by text ahead of time, but maybe I should do some re-reading up on the historical period I'm covering here (1945-2006). Something to do until I can actually be in a work space. Wish I could get us going before the 23rd, but it just can't happen. Like the cast a lot as it stands. Really picturing lots of images with them. Wish I knew how a bit more of how these images go together right now.
I have to remember -- Stacia doing the "kitchen phone" song from the Gower Champion "Once Upon a Honeymoon" musical short they riffed on on MST3K. There's a clean copy of that scene in the Halberstam THE FIFTIES video series.
Edward Einhorn has suggested that Havel's TEMPTATION, a retelling of the Faust story, seems like the "best" play for me to direct in the October HavelFest he's putting together with Untitled Theater Co. #61. So I ordered a real cheap used copy from Amazon. That'll probably be the next project after TWWHF. I might look at some other plays, but "Faust" is kinda a magic word for me since I played Marlowe's Faustus back in . . . what was it? 1992 or 1993. June. Ah, 1992, I turned 24 during the run.
Havel will be in town for the Festival. Wonder if he'll see my show . . .
I may have the choice of doing TEMPTATION (or whatever Havel show I choose) at either The Ohio or The Brick. I love The Brick and it's a theatrical home for me now, but Berit will be house managing at The Ohio, so if I want her to run the show for me I'll have to do it there. Also, I'd like to do a Manhattan show again. And while it's good to work in a comfortable space, it's healthier to shake things up for yourself as a director/designer from time to time.
Plenty of time to figure this out (not really, but in the immediate theatrical scheme of things) and another show to take care of first.
Slides or video? Or both? And of what? How literal or abstract? Or varied?
And . . . the text. The sound cues that inspired the show should be just that only, inspiration. I'll be using them, and some of them will be lip-synced to at points, but there will have to be dialogue.
But as opposed to most of my plays, I don't want the dialogue to be collaged from other sources, so I'll be making it up on the fly in rehearsal. I planned this but more and more I'm wondering how "straight" or "fragmented/repetitious" the lines should be.
Again, don't know why I'm worrying about this now. Nothing will become clear until rehearsing with the actual actors in the actual space. Starting April 23.
I didn't want to be overinfluenced by text ahead of time, but maybe I should do some re-reading up on the historical period I'm covering here (1945-2006). Something to do until I can actually be in a work space. Wish I could get us going before the 23rd, but it just can't happen. Like the cast a lot as it stands. Really picturing lots of images with them. Wish I knew how a bit more of how these images go together right now.
I have to remember -- Stacia doing the "kitchen phone" song from the Gower Champion "Once Upon a Honeymoon" musical short they riffed on on MST3K. There's a clean copy of that scene in the Halberstam THE FIFTIES video series.
Edward Einhorn has suggested that Havel's TEMPTATION, a retelling of the Faust story, seems like the "best" play for me to direct in the October HavelFest he's putting together with Untitled Theater Co. #61. So I ordered a real cheap used copy from Amazon. That'll probably be the next project after TWWHF. I might look at some other plays, but "Faust" is kinda a magic word for me since I played Marlowe's Faustus back in . . . what was it? 1992 or 1993. June. Ah, 1992, I turned 24 during the run.
Havel will be in town for the Festival. Wonder if he'll see my show . . .
I may have the choice of doing TEMPTATION (or whatever Havel show I choose) at either The Ohio or The Brick. I love The Brick and it's a theatrical home for me now, but Berit will be house managing at The Ohio, so if I want her to run the show for me I'll have to do it there. Also, I'd like to do a Manhattan show again. And while it's good to work in a comfortable space, it's healthier to shake things up for yourself as a director/designer from time to time.
Plenty of time to figure this out (not really, but in the immediate theatrical scheme of things) and another show to take care of first.
