How do we get better at what we do? This was the unspoken premise behind “Writing in Three Dimensions,” a seminar organized by member Pat Gabridge, Four designers (two lighting, two sound), and about thirty playwrights gathered in the Central Square Theater on a beautiful spring afternoon. First, the designers showed and played examples of their work and talked about their experiences of working with playwrights. All expressed a desire to expand the director/playwright relationship beyond encounters at the first read through and tech rehearsals “when it’s all over.”
Sound designer David Remedios (American Repertory Theatre) said that, whenever possible, he liked to be in the room during the entire rehearsal process, because “a sound designer is supposed to help actors and the director tell the story.” He also spoke at length about working with member Leslie Dillen on her solo shows, a process that starts with listening to her voice reading the script, then trying different sound ideas in real time with text.
The designers were then asked how they read a script. PJ Strachman (lighting): said if the script wasn’t new, she skipped the stage directions. Karen Perlow (lighting) said that if stage directions referred to blocking, she skipped them. If they were “poetical,” she paid attention because she felt that they were important to the playwright (living or dead). David Reiffel (sound) circles everything he knows he’ll have to deal with. David Remedios: “Read The Play.”
The designers also gave examples of when their work was supposed to be invisible and also when it was supposed to advance the action. Someone asked Karen Perlow if she had ever been asked to make lights “funnier.”
PJ Strachman: “The thing I love most about theatre is that people work together,” All talked about how to work with small theatre companies in order to get the best results on a limited budget. Strachman said that if she was too busy too take on a project, that she was happy to make referrals to colleagues. When the panel broke up, we came away feeling grateful for the insight and generosity of these Boston-area designers. And looking forward to future panels with costumers, scenic designers and fight choreo- graphers.
As I was preparing this report, I happened to hear from Leslie Dillen (leslie.dillen@comcast.net), while she was doing her solo show Stepmother in a Sari, a “fraught family travelogue,” at the Jackson Repertory Theatre in Jackson Heights, Queens, NY. First, she told me that she had landed the engagement as a result of a Guild networking event in New York. When I told her about the panel she then wrote: “The show is going well here and I’m learning a lot. Glad Dave (Remedios) talked about the work we’ve done together. He’s been an amazing collaborator, a real gift for my process and the work. Just love him!’
Finally, I’d like to extend a warm welcome to two incoming artistic directors: Kate Warner (New Repertory Theatre) and Diane Paulus (American Repertory Theatre).
In May 2010, ART will be presenting Emerging American, a festival dedicated to “launching the new American voices of tomorrow.” I look forward to writing about Diane and Kate’s leadership and next year’s festival.
Boston
By Amy Merrill
How do we get better at what we do? This was the unspoken premise behind “Writing in Three Dimensions,” a seminar organized by member Pat Gabridge, Four designers (two lighting, two sound), and about thirty playwrights gathered in the Central Square Theater on a beautiful spring afternoon. First, the designers showed and played examples of their work and talked about their experiences of working with playwrights. All expressed a desire to expand the director/playwright relationship beyond encounters at the first read through and tech rehearsals “when it’s all over.”
Sound designer David Remedios (American Repertory Theatre) said that, whenever possible, he liked to be in the room during the entire rehearsal process, because “a sound designer is supposed to help actors and the director tell the story.” He also spoke at length about working with member Leslie Dillen on her solo shows, a process that starts with listening to her voice reading the script, then trying different sound ideas in real time with text.
The designers were then asked how they read a script. PJ Strachman (lighting): said if the script wasn’t new, she skipped the stage directions. Karen Perlow (lighting) said that if stage directions referred to blocking, she skipped them. If they were “poetical,” she paid attention because she felt that they were important to the playwright (living or dead). David Reiffel (sound) circles everything he knows he’ll have to deal with. David Remedios: “Read The Play.”
The designers also gave examples of when their work was supposed to be invisible and also when it was supposed to advance the action. Someone asked Karen Perlow if she had ever been asked to make lights “funnier.”
PJ Strachman: “The thing I love most about theatre is that people work together,” All talked about how to work with small theatre companies in order to get the best results on a limited budget. Strachman said that if she was too busy too take on a project, that she was happy to make referrals to colleagues. When the panel broke up, we came away feeling grateful for the insight and generosity of these Boston-area designers. And looking forward to future panels with costumers, scenic designers and fight choreo- graphers.
As I was preparing this report, I happened to hear from Leslie Dillen (leslie.dillen@comcast.net), while she was doing her solo show Stepmother in a Sari, a “fraught family travelogue,” at the Jackson Repertory Theatre in Jackson Heights, Queens, NY. First, she told me that she had landed the engagement as a result of a Guild networking event in New York. When I told her about the panel she then wrote: “The show is going well here and I’m learning a lot. Glad Dave (Remedios) talked about the work we’ve done together. He’s been an amazing collaborator, a real gift for my process and the work. Just love him!’
Finally, I’d like to extend a warm welcome to two incoming artistic directors: Kate Warner (New Repertory Theatre) and Diane Paulus (American Repertory Theatre).
In May 2010, ART will be presenting Emerging American, a festival dedicated to “launching the new American voices of tomorrow.” I look forward to writing about Diane and Kate’s leadership and next year’s festival.
amerrill@dramatistsguild.com