​Tell me a bit about yourself as a director.
I tend to be an actor's director and work very organically. Each moment in a scene has the potential to be riveting, even if it's a character doing her laundry. A play is simply a map to the performance as a whole, I feel the director’s job is to allow actors to fully embody the essence of that map, to feel the different elevations and to find a place within it that is unique. From this place, the story is told—a special place where each particular actor can fully explore all of the play's mysteries and sureties.
 
At its core, A Number is about:
Being unique. It's about how dearly we hold our identities with the conviction that we are, even with the knowledge that countless humans have come before us, somehow singular in all of time. The play challenges us investigate what truly makes us individuals, even if we are standing in the presence of a perfect genetic copy of ourselves. In a similar way, we are also allowed to see this action from the viewpoint of a parent, whose genes were the source of it all.
 
What is the most challenging aspect of directing A Number?
A Number is a stunning combination of subtle language, horrible and beautiful lies, murder, and human cloning. The challenge was to reveal to the audience how truly simple and beautiful the story is. Luckily, my team was able to take my vision and turn it into something even more audacious, fun, and moving than I could have conceived alone.
 
Are you approaching your section of A Number as mutually exclusive from the other two pieces?
No. Being the last section, it relies so heavily on everything that came before. I stressed to my artists how important it was to be familiar with the play as a whole.
 
The script for A Number does not have many stage directions, or even much punctuation; do you consider this a gift or a challenge when directing your “slice” of The Bake Off?
It has been a gift. Even more than the lack of punctuation, there is the lack of completion of voiced thoughts from each character. Many characters’ lines seem interrupted or incomplete. This marvelous conceit allows me and the artists to complete the characters' sentences in our heads— it keeps us on our toes as far as the meaning of each line. With minimal stage direction, it allows us to create all of the action based on what is occurring as opposed to being actions to make things occur. There can be more creativeness this way.
 
What makes directing this play fun?
The anticipation of seeing how three different visions will work as a whole.
 
What's your favorite line in the play?
“We've got ninety-nine per cent the same genes as any other person. We've got ninety per cent the same as a chimpanzee. We've got thirty percent the same as a lettuce. Does that cheer you up at all? I love about the lettuce. It makes me feel I belong.”

Tell me a bit about yourself as a director.
I knew I wanted to be a director when I was 13. I founded a high school video club to scratch that itch in the 80s (MTV-inspired!). I directed my first play at 19; Agatha Christie's Ten Little Indians on an Air Force base in the Philippines—I was the youngest member of the entire production. I've never been to school for theater; I've learned from doing and observing. As such, I don't have a dialed-in industry vocabulary which can sometimes be challenging—my ideas of a "beat" or diagramming a script are probably not the formal definitions. I work intuitively and collaboratively. I don't know if that's the most efficient methodology, but it sure is fun and while actors may occasionally wrinkle their brows figuring me out, we seem to happily arrive at theater together.

At its core, A Number is about:
Nature. Shaped by nurture. But mostly identity, the fragile glaze that binds them. If nature is the basic clay of identity, and nurture the long slow shaping, why does simply learning where the clay came from suddenly cause a crack to appear? Does nurture get re-written: is the shaping redone? Is nature altered: does the clay fundamentally change? Science tells us that yes, trauma can actually change DNA. Epigenetics is a thing.  But we're looking more at how individual identities are bound to others, and how the reflection of one's identity in another, especially parent to child and vice versa, can be utterly foundational.

What is the most challenging aspect of directing A Number? 
I think the inspiring challenges are more in the “Bake Off” format than the script! So few rehearsals! In the script, mapping truths and lies has been an interesting puzzle.

Are you approaching your section of A Number as mutually exclusive from the other two pieces?
We read the whole script a time or two. I think we all believe that more information is better when trying to understand the story, character's histories and motivations, and what's a lie versus what's not. But we've made no efforts to map anything that might be useful beyond our section. For example, we haven't given any thought to a nature aspect of the Michael character since he doesn't appear in our section, like do all three clones echo a physical affectation we can see and how would it present specifically in Michael and how would it affect Salter? Don't care! Is the set layout going to work for later scenes, and how should later needs inform earlier scenes (normal things you discover in rehearsal). Don't care! If we had the whole show, we'd pay attention to those things, but “ain't nobody got time for that!”

The script for A Number does not have many stage directions, or even much punctuation; do you consider this a gift or a challenge when directing your “slice” of The Bake Off?
Both. The dialogue is powerfully real this way, and there's freedom to live and move in it. It's like how we really think-talk, but not how we normally perform. It is a challenge to memorize, however. Chris and Bruce have worked really hard on it! Stage directions might have made blocking slightly more efficient in our compressed process, but having none written means we can make bold choices and own them, which is perfect for The Bake Off!

What makes directing this play fun?
What powerfully moves me and makes it totally rewarding is getting to work with super talented actors like Bruce and Chris. I am lucky, humbled, and blessed to be their audience of one! One fun thing about this script for me is that it gets the science right (it bugs me when scripts get science wrong), yet the science is merely a layer under the story of relationships and identities. The science—and even the ethics of the science—do not try to own the story. It's merely what happened (what could happen? what will happen?), and while it informs the story it isn't the whole story. Some of the characters’ feelings could map onto near-parallel stories like, "I had a twin I never knew about that you drowned at childbirth" or "I just found out I was adopted from the prison orphanage, one of sextuplets" or "my dad had a secret second family." The cloning gives a wonderful new twist to explore, though, (what constitutes my uniqueness?) without just being a story about test tubes. One last fun thing was discovering all kinds of music about clones—I am now a Gary Numan fan.

What's your favorite line in the play? 
So many!!!!! I'll force myself to pick one … Bernard says, “you called them things. I think we'll find they're people.”

​Tell me a bit about yourself as a director.
Recently, I've been directing extensively with young performers … several middle schools, summer camps, and soon moving into becoming the drama director for Essex High School. As an educator, the directing goals center around skill sharing, team building, identity, and empowerment. As a director with adults, my ethos is similar, though deeply rooted in script analysis, movement generated content, play, and trust between all creative partners. As a director, I come with a vision, ask a lot of questions, remain open to discovery, and then carve out the meat with the editing knife.
 
At its core, A Number is about:
The risk inside relationship. What does it mean to be vulnerable? How do we mask who we are and what we want? What does it mean to be one's own? What does it mean to be recognized? To be a part, to be apart?
 
What is the most challenging aspect of directing A Number?
In the case of The Bake Off, it's time. We have a very short rehearsal schedule. Maintaining space for discovery while also driving decision making is the most awesome challenge! Efficient use of hours and talent while generating content with intention and clarity: what a fantastic opportunity for preparedness and urgency in the work. A lot of sparks fly, and we need to catch them quickly.
 
Are you approaching your section of A Number as mutually exclusive from the other two pieces?
In what world does mutually exclusive exist?
 
The script for A Number does not have many stage directions, or even much punctuation; do you consider this a gift or a challenge when directing your “slice” of The Bake Off?
A gift for vision and imagination. Churchill's words are coded, deliberate and rich with interpretations. Every problem is an opportunity.
 
What makes directing this play fun?
The actors who have given me their trust (and they have mine). Paul Ugalde and Andy Butterfield are some gorgeous and brutal clay to shape. We are having a good time in rehearsal, with a section of A Number that carries with it a landscape of aggression, abandonment, and discord. How does it feel to play with dialogue and action that never resolves? Full of potential, and the feeling of tilting on the edge.
 
What's your favorite line in the play?
"because if there was nobody there that would be terrifying and if you were there that might be worse but it's something I wonder"

The Dining Room is comprised of 18 vignettes and over 50 characters played by only a handful of actors. Do you find that breaking it down into sections makes it easier or harder to direct than the entire show? 
I think it’s tougher in that there is less of an overall journey for me to help the audience through.  I have the end of the play, and endings are always hard.  Especially when you have no control over the beginning and middle of a play!  You need to wrap things up, make a statement for the whole play, but not get too sentimental with it in this case.  We keep it simple, slightly stylized.  To me the end is about coming together.  It symbolizes the family and tradition of this society.  And also celebrates the actors who as an ensemble have worked hard to make this happen. 

Are you approaching your section of The Dining Room as mutually exclusive from the other two pieces?
Yes. In fact, I am treating each vignette as if it were its own short play.  Since each one involves completely different, unrelated characters, we need to make sure the audience gets the Who, What, and When.  The actors are fleshing out their characters, finding the story arc and the “event” of the scene, and working to get what they want or need independently of the play as a whole.  

I would actually approach it the same way if I were directing the entire show.  Each vignette gives us a different glimpse of an aspect of the “WASPS.  Of  the Northeastern United States” (to quote a character).  Different generations, all sorts of different family dynamics.  By giving us this variety of people and situations, the playwright A. R. Gurney allows us to see a full picture of this socio-economic group at a particular time.  By writing this way, Gurney lets the sum of the parts create its own arc.

​​​Do you find anything to be particularly challenging about your “slice” of The Dining Room?

I’m not sure my “slice” of The Dining Room” is any more challenging than the others.  The main challenge for all of the directors is helping the actors create interesting and unique characters played by the same actors.  Also, staging each scene in a dining room (and with the audience on all sides of us) creates a challenge for inventive staging.

However, one of my favorite vignettes in the whole play is in my section, and it is also one of the most challenging.  I find it to be stylistically different than most others.  It feels big and farcical.  I wanted to go whole hog with the farce, but not have it feel like it doesn’t belong with all the other scenes.  Also, when doing farce, the challenge is to make it truthful and not go into slapstick.  When done well, it allows us to point out the absurdity of things, but not disregard them.

At its core, The Dining Room is about: How people and families can be separated, distant.  It is about how circumstance and tradition can push us apart. 

Tell us a story from your life that happened at a dining room table. 

For the life of me, I can’t think of an interesting story in a dining room!  I remember eating.  And talking a lot.  If this play were called The Living Room, or perhaps The Rumpus Room, I’d have a good one for you.  

The Dining Room is comprised of 18 vignettes and over 50 characters played by only a handful of actors. Do you find that breaking it down into sections makes it easier or harder to direct than the entire show? 
I think it’s certainly more difficult. Chiefly, you lose the structure that creates the arc of the play. There is also something magical for audiences about witnessing 6 actors transform into over 50 different characters and we lose that effect with this approach. 

However, creativity flourishes when boundaries and rules are applied, and the pursuit of that creative vision has to be clear. Therefore, the limitations presented to the directors in the Bake-Off have forced all of us to explore ways to push the boundaries of what is actually possible within our vision, and to ultimately create something that is uniquely ours.

Are you approaching your section of The Dining Room as mutually exclusive from the other two pieces?
I’m approaching section 2 of The Dining Room as a stand-alone play within a play. It has it’s own micro-arc, dramatic structure, unique design elements, and specific message. I don’t believe my directorial choices would hold up if I were applying them to the entire play, but for this project, it was my desire to make interesting and bold choices that reflect the message I’m trying to relay. 

There do exist themes and qualities that will naturally bleed over into the two sections that bookend mine, but I believe John and Jamien will present their “slices” in a way that is completely unique to mine. I’m excited for them to unveil their work and put all three of these segments together. I imagine the journey and message of the play as it was originally intended will transcend the three different directorial approaches.

There are clear challenges to not having control over the entire show.

​​​Do you find anything to be particularly challenging about your “slice” of The Dining Room?

One particular challenge has been to keep the actors focused on playing authentic and truthful scenes within the odd world I’ve created. I’ve not made it easy for them by choosing to present an atmosphere with overt, non-realistic design elements that express the themes I’m trying to get across to the audience. It’s easy for them to “indicate” or “point at” or “suggest at” some of the thematic expressions I’m making, but in order for my vision to be effective, they have to accept the design elements as reality and play the truthful actions and motivations for the characters, as writ, in each scene.   

At its core, The Dining Room is about: …the struggle between desire to escape the disparaging guilt of WASP culture, and holding onto the social, financial, religious, and political comforts it provides. Although antiquated, this play presents a relevant opportunity to be a voice for the masses, expressing disapproval for the excessive power and wealth of the 1%. 

Tell us a story from your life that happened at a dining room table. 
As a child, I spent more time under the dining room table than I did sitting at it. The table legs, hardware, supports, leaf latches and slides, tucked-in chairs, and draping tablecloth provided the ultimate atmosphere for GI-Joe military and ninja missions. With a bit of yarn from my mother’s knitting basket, I could create elaborate systems of ropes, zip lines, and webbing for my Joe warriors to climb, swing, rappel, and get tangled in. To be a child again…  

The Dining Room is comprised of 18 vignettes and over 50 characters played by only a handful of actors. Do you find that breaking it down into sections makes it easier or harder to direct than the entire show? 
Definitely easier.  I like that we are able to really focus on these first 7 vignettes and how they relate to each other. It would be fun to direct the entire show, but with this amount of time, doing one-third of the show is perfect.

Are you approaching your section of The Dining Room as mutually exclusive from the other two pieces?
The script is written as an overlapping of different vignettes that take place in the dining room. Our section has a total of 7 scenes and each scene has its own story to tell. I am focusing on just my ‘slice’ of the show exclusively, without really taking the other two sections into consideration, other than the transitional moment when we hand off the show to the next section.

​​​Do you find anything to be particularly challenging about your “slice” of The Dining Room?
My initial challenge has been placing each scene in the appropriate time-period.  There are some scenarios that range from the depression era, to the women’s lib movement, and others that could be happening today. The juxtaposition of these situations is what makes the show that much more interesting. The challenge is to make these eras clear, without making it a show that’s all about props. We’re relying on language, movement and mannerisms to translate a lot about where we are in time.

At its core, The Dining Room is about: how something as simple as a room can mean some many different things to people in regards to memories, traditions, and the changing culture.

Tell us a story from your life that happened at a dining room table.
Some of my fondest memories in the dining room are at my grandparent’s house.  They lived on a lovely farm in New Hampshire where we’d go every Christmas.  I am the oldest of 4 cousins, and we always sat at ‘the kids table’. Due to space, I sat at the kids table until I was well out of high school… and when I finally did get the chance to sit with the rest of my family at the dining room table, as much as I enjoyed being included as a grownup, I found myself longing for my seat at the kids table. 

Tell me a bit about yourself as a director.

Casting is a huge component, so even before the first rehearsal if I've done a good job during the casting I'm in great shape. I come to the first rehearsal with a framework to give the actors. I know that this framework will change based off the actors' choices and needs, but if you provide some structure it gives everyone something to work with. I like to be open to what the actors instincts are telling them, because if I try to impose what I want it won't ring true. This cast has great instincts.

What do you find challenging about directing your section of BEYOND THERAPY?

I have the third section, so we have to give closure to all the antics of the first two sections. Also, the train is already moving, so the cast has to hit the ground running.

What makes directing this play fun?

I love the discoveries that are found once the actors put the work up on its feet. My cast is really talented - they are full of insights and open to playing with different choices.

What's your favorite line in the play?

"What kind of metaphor is becoming a bag woman?"

Tell me a bit about yourself as a director.

I think directing is terrifying.  As an actor you are responsible for your part of the whole.  As a director you are responsible for EVERYTHING!  An acting coach of mine used to say, 'Take a risk, Safe is dead.'  The times I have 'risked' directing have been some of the most rewarding experiences I've had in the Theatre.

What do you find challenging about directing your section of Beyond Therapy?

There is a fine line in Durang plays, if you go too far with the comedy I think it moves out of the realm of reality and into the absurd.  Durang quotes the playwright Joe Orton in his extensive author's notes, ' Unless its real it won't be funny.'  Walking that fine line is the challenge for the actors and me.

What makes directing this play fun?

I have acted in and directed other Christopher Durang plays and each time it has been transformative.  Durang's dark humor speaks my language.  At the heart of his zaney plays there is a truth that resonates.  Searching for that truth with this group of actors is incredibly fun.

What's your favorite line in the play?

Of course its from my section of the play:

"How can life be in order? Life by its very nature is disordered, terrifying. That's why people come together, to face the terrors hand in hand."

Tell me a bit about yourself as a director. 

I really like to work collaboratively.  What I love about theatre is that it involves many people coming together to create something that will be shared and then will no longer exist.  It is a truly special process.  It involves good communication and respect.  While I believe that it is essential that I have a clear vision and intention for my work I also feel that all involved should have ownership over the piece.  It is important that I remain flexible and allow space to explore.  Having begun my career as an actor I know that I can be more productive if I feel safe to experiment and offer suggestions.  I can do this best if I have a good understanding of what the director is trying to achieve and I feel my opinion is welcome and respected.  Therefore, I spend a lot of time up front sharing my thoughts and ideas and the problems that I anticipate.  I want us to solve them together!

What do you find challenging about directing your section of Beyond Therapy?

It was difficult for me to land upon a concept that I felt good about.  Because this specific project allows directors the opportunity to be more daring with their concept I initially felt daunted by all the possibilities.  My training as a director taught me to analyze the text and work to serve the intention of the playwright.  I studied in England and there was a lot of respect for the written word in my training.  Because of this I wanted to find a way to serve the playwrights intentions while still having a unique concept.  In the end I am really happy with what I came up with.  We shall see how it plays out in rehearsals!  They begin tonight!

What makes directing this play fun?

It is such a funny play!  Really, no matter what each director decides to do it is impossible for it not to be hilarious.  However, while it is absurd, like good absurd theatre, it has some real truth in it.  There is a lot of heart in this piece.  When the cast and I read through our section last week we were not only busting up laughing it prompted some really great discussions.

What's your favorite line in the play?

Out of my section it's a toss up between:

Bruce:  "I was going to give you a fine dinner and then take you to see "The Tree of Wooden Clogs' and then home to my place for sexual intercourse, but now I think you should leave."        

AND

Prudence:  "I don't think men should cry unless something falls on them."           

Too many great lines!