I found out today, the school will be hiring a professional sound designer outside the school. There simply are not enough students to go around. This is a similar crisis in both Assistant Director and Dramaturgy. Michele DiPietro has signed on as dramaturge. Once we meet, we will hash out particulars in responsibility and process, but until then, I am continuing to do as much research as possible to best prep for the upcoming week.
I have now had over-the-phone meetings with all of the designers. The most recent was with Sarah, the lighting designer. I am finding that my ramblings about the play, the themes, the world I want to create are not so "rambly" anymore. They are really beginning to narrow in on a world. Just in time for designers to get involved!
I asked Sarah which moment popped out to her in her memory after a first read... she said she mostly followed Maggie's story and the dramatic ending was exciting and sudden. She asked what I thought about the "three Maggie's." I answered in many parts. Psychologically, Maggie is certainly a victim of trauma, trying to cope and survive and especially thrive in a world she does not fit in. Schizophrenia is a way to actually cope with such trauma. I am not suggesting that Maggie is actually schizophrenic, but I am suggesting that the playwright uses this device and it resonates this disease and brings out the extreme difficulty Maggie has accepting her own identity. I also answered in terms of theatricality. This is an overtly theatrical device that the playwright engages not only to show passage of time and change in personality, but to force the audience to venture deeper into a willing suspension of disbelief-- AKA: imagination! We will see different actors playing the same role and must CHOOSE to believe it is real.
My conversations with Brian (scenic design) thus far have been truly lovely and exciting. We are able to talk and listen to each other and about the text with clarity and openly. We agree that the world is environmental, that our first step must be define the world of the play as Maggie sees it, then ALL designers will come together with me in a series of extensive meetings and actually storyboard the play. We will move quickly through the play. After reading it aloud as a group. It is this unification of the design team that is so important to me. I am often able to schedule enough individual meetings with designers, but the group meeting wane after the first or second due to varying schedules and artistic time lines. I would like this play to be born out of all design elements. Clearly progressing in all fronts throughout the process, so that I may be able to begin rehearsals with an extremely clear vision. This will enable an immense amount of freedom for the actors to develop the characters, physicality and story within a framework. Structure = Freedom. I am also encouraging everyone to read the play at least once a week. I hope everyone will set aside time to at least read sections of the novel that directly affect the text. I am trying to highlight them now. Mallory (costume design) has notice the RED imagery that pops up throughout the novel. I cannot get over how much animal imagery surrounds each character. Before rehearsals begin, I must have this theme mined for use with the actors. This is something I would like to have my Assistant Director assist.
Last year, for GOLDEN BOY, I prepped relentlessly for the Design Launch. I have tons of laminated images I had collected and had a very specific concept for my "concept musical." This one is very different. I know what is important to me in the play. Imagination, Rules, Theatricality, Environment, the theme of "an exceptional girl in an ordinary world," the struggle for survival, the relentless churning of the mill, all of the senses coming alive, the feeling you get when you play hide-and-seek as a child, the world through the eyes of a child, real danger, grown-ups vs. children.
Okay, enough for now.
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