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This week a giant leap was taken in the world of the MILL. After completing the "what" storyboards on Monday evening, Tuesday evening's plan was to meet a hopeful cellist to perform in the show. All along I have known that the instrument that most naturally and fully captures the essence of the show is the cello. All my life the cello has appeared and reappeared in different ways. Each time, that instrument speaks to me more than any other. The sounds it creates are so varied, the shape of the cello is so feminine and delicate, the movement around the cello is so connected and erotic, the music it plays triggers in me an awoken sensation of bliss.

So I met Ali. And she looks like a Maggie. And she loves to experiment with her instrument. She is not precious about the instrument. The meeting was exciting and she and her cello will now be a part of this production. WE discussed the various roles that the cellist/cello will play. Without having a sound designer yet, it is a little more challenging to decide WHEN it plays. But, as with everything in directing, I must begin with the WHAT. We are scheduling a meeting with Ali, the props coordinator, the scenic and costume designers for early next week. She is busy reading the play. In the meeting with designers we will address her needs in order to play well and comfortably. We will get her measurements and discuss the different ideas of how/where she might be playing. Since the stage is arena, there is no actual corner for her to stay in. Putting her in one spot outside the audience is okay, but it will mean a very different aural experience for the audience. Plus, if she is outside the playing space, her character is an observer or manipulator-- we give her tremendous power-- which may not be the story I am hoping to tell. We are going to discuss making it possible for her to move and play-- actually walk and play. I have seen this done once and it is not easy. But it's a way to begin the discussion.

WHO is the character of the cellist? What role does she play? I have been around the block with these questions. I know that she is NOT a fourth Maggie-- there are only three. I know that she is not all-powerful The two ideas that resonate most are 1) she is Maggie's fetish. A doll that Maggie has given life to and comes alive and maggie's most heightened moments OR 2) (and this is my favorite) she is the WITCH at the beginning that Maggie idolizes and makes come to life. This connection to the witch is so important throughout the story. Since Ali is willing to do anything on or off-stage, this could work out beautifully. If Mag idealizes the witch, she pities and admires those less fortunate- then it means that she WANTS to be a witch. She wants to sacrifice herself as a scapegoat. Her whole life is building toward that realization. She may not fit into this world but she would fit in with the witches. She could belong. It's not so unlike people today who obsess over various cults-- goths, vamps etc... this is Maggie's obsession.

So now, I wait to meet with Ali again. I have my first meeting with Natalie (dialect coach) today so that the actors may begin working with her on Monday. I have design meetings for a few hours on Fri/Sat. And then Sunday is the actor trip to the mill. I hope the weather warms up a bit!