Ink Diaries: One Week Down

It’s a week on the calendar. But it’s actually only six days of rehearsal. It was six days of rehearsal that saw us accomplish a lot, especially since we were on our feet for only four of them. We’ve got Act 1 blocked and “in the book.” We’ve learned a lot about each other and it feels like we’re starting to work as a team. I can feel the ensemble starting to build its identity. But it wasn’t a week without challenges.

At this stage of rehearsal you’re always in a rehearsal room of some sort. And POTS has a good one. It’s not an exact footprint match of the stage. Rehearsal rooms rarely ever are. But we’re all used to that. That’s why we call the first rehearsals on stage “spacing rehearsals.” We got to take a look at the scenery being installed on stage and that was informative.

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Given the nature of one of the major scenic locations in this play our original plan required a lot of furniture-desks, chairs, and other stuff you’d find in a newspaper office. It was a solid plan. Until I realized that we just didn’t have enough room to adequately rehearse those scenes and the transitions in and out of them in the rehearsal space.

So I changed the plan. On the fly.

I love those in the moment moments: following the plan, feeling something’s wrong, and knowing you have to make a change. Your senses tingle back and forth between panic and possibility. You don’t know what the change will be. But you dive in, articulate the idea and hope you’re on the right course.  Sometimes the new idea flies. Sometimes it crashes.

I’ve learned through the years that when I hit one of these moments I find myself literally not being able to initially articulate the idea clearly and cleanly at first. Because it is literally forming as the words tumble out. The cast has that “what the hell” look in their eyes as they’re trying to follow what I’m saying. And then we put it into motion. This time it flew.

The new plan required some re-thinking after that rehearsal to make sure I hadn’t changed us into a trap later on in the show. I’m confident we’re in good shape. But hell, I was confident in the original plan. This new plan feels much better than the original, both in how it’s going to allow us to rehearse in the next two weeks before we load into the theatre and how it’s going to make the flow of the show much more successful.  And dare I say-fun.

Everyone has the day off today after a fun, hard week of work and then tomorrow we turn the page into Act 2. Can’t wait.

Ink Diaries: First Read

Our play began to take life last night. We had our first read with the cast. It was exciting and in the end ultimately a great beginning. It might have taken three years from the point that I got this gig to get to this point but all of that time evaporated last night as we heard the cast breathe life into James Graham’s words. Iit was an excellent beginning. 

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The cast was surprised at how much humor flows through the show and brimming with questions about their characters, our process and next steps. 

Next steps. Yeah, we’re off and running and the clock is now officially ticking. More table work tonight and then tomorrow we get on our feet. Here we go. 

Ink Diaries: What’s Next?

What’s next?

In Memphis.

Moved in. Things set up. Groceries purchased.

Meetings follow meetings: Props. Set. Sound. Logistics. Asthetics. Choices. Face to face. Not Zoom to Zoom.

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First Read tomorrow night. Life gets breathed into these words on the page and in my head. What’s been mostly mine starts getting owned by others, shaped by others, defined by others.

First Read is perhaps the most nerve wracking moment outside of first audience and opening night, Everyone is checking everyone and everything out. What’s the director guy gonna day? How’s this next period of my life going to play out? Big stakes in a big moment.

Bring it on.

Ink Diaries: Approaching Dark Mode

One week from today we’re off to the races when we begin rehearsals for James Graham’s play Ink at Playhouse on the Square in Memphis. I’m chomping at the bit to get in the room with actors and start bringing this story alive on our way to its opening on March 24.

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We’re still heavy into production work but I’m just about at that point where I shut down research and script work. I call it Dark Mode.

Essentially I’ll put the script away for 4-5 days. All the research, script work and note taking just sort of percolates, simmers, or stews a bit. The day before rehearsals start I’ll take another cursory pass at the script. But when we sit down for the first read I want to hear the words with the voices of the actors and see how those voices confirm or challenge the thoughts I’ve been bringing to the mix so far. I look forward to both the confirmations and the challenges.

Immediately after that first read my brain will enter a period where it doesn’t shut off on the show until after it has opened. But until then I sort of have to enforce Dark Mode on myself. I’ll want to jump back into things now and then, but I’ve learned over the years to trust this percolating part of the process. Maybe it’s like letting a good piece of meat rest a bit before carving and serving. And maybe I should stop with the food analogies.

Every creative act involves a leap into the void. The leap has to occur at the right moment and yet the time for the leap is never prescribed. In the midst of a leap, there are no guarantees. To leap can often cause acute embarrassment. Embarrassment is a partner in the creative act—a key collaborator.

-Anne Bogart

Ink Diaries: The Muddle

I’m in The Muddle.

No, I’m not talking about mixing ingredients into a cocktail. I’m talking about preparing for rehearsal. Muddling typically implies confusing or mixing things up into a bit of disorder. And that’s exactly where I am in process as we’re about 5 weeks out from starting rehearsals for James Graham’s Ink at Playhouse on the Square. So, it’s time to pick up my pace on preparation. That means reading the play more times than any play should be read, making notes and typically reviewing research. It’s a bit different for this production. Because timing.

We actually began work on this production in 2020 and it has been on again/off again due to the pandemic. So a lot of the research gathering took place back in 2020. So instead of hunting and gathering I’m actually in more of a reviewing mode. Although I still keep finding new things and adding them to the muddle.

I call this phase of my preparation The Muddle because as I’m moving towards making decisions that will set us on course I still have the liberty of changing that course. I frequently do as I bounce ideas off of ideas to see what sticks. It’s a bit of muddling about because at this point almost anything is fair game and rhyme doesn’t necessarily have to follow reason. Out of disorder eventually comes order.

But it’s not all a blank slate. We’re in the design process and we’re mostly cast (still two roles to go) so some decisions are being made or have been made. But that’s actually when The Muddle gets the most intriguing. Decisions are choices and choices eliminate other choices and open up others. And when I find myself backed into a corner there’s either an undiscovered way out, or it’s time to revisit that choice.

Reading the play with certain choices in mind opens it up as it closes it down. And if you think that statement is contradictory or doesn’t make sense, welcome to The Muddle.

Rest in Peace Frank Galati

Frank Galati was a gentle sweet soul and one helluva theatre artist. I first came across him after my first move to Chicago in 1979 in the Wisdom Bridge production of Travesties. His performance was a revelation. As was his work on the whole.

One of his many gifts are the legions he influenced, insuring his gifts, like the memories he created, will live on. We were all blessed to experience him.

https://www.broadwayworld.com/article/Director-Writer-and-Actor-Frank-Galati-Dies-at-79-20230103

Let’s Get This Show on the Road

Finally. 

I was first offered the opportunity to direct James Graham’s play, Ink at Playhouse on the Square in Memphis in 2020. Right before this thing called COVID descended. It’s been on again off again since and I’ll admit I thought we might never get to tell this story. 

Well we’re telling it in 2023. We kick off rehearsals on February 20 and open on March 24. And I’ll tell you I’m excited. It’s a rich, complex story about Rupert Murdoch’s taking over of London’s the Sun newspaper in 1969/70. Since I got the word that we’re moving ahead it’s been an exciting rush so far as we pull the pre-production plans together and finalize casting. 

Back when I previously blogged regularly I kept diaries of shows I directed on the 2nd Act of Life on the Wicked Stage and the plan here is to renew that tradition. So we’ll see how that goes. 

Meanwhile, stay tuned. It should be quite a ride.