I would first like to start out by saying how incredibly excited I am to be working with such a interesting, hilarious, engaged, and fantastic group of human beings. I can’t wait to get to know yall better and see you question, inspire each other, look inward, and grow over this wild and crazy ride.
Now, on to the play – I think one of the things that interests me the most about the concept of Duke Uncle Vanya 2013 is the idea that many of the cast will be watching other actors while the audience is watching both the actors watching other actors and the actors playing the Vanya characters. Trippy, huh? I think this will add a whole different dimension to the play, which is always exciting (and a little scary). I also think it might help the “traditional” audience members not watch as passive spectators, but rather feel as though they are an integral part of the play. I found that this idea was somewhat lost while watching Vanya On 42nd St, as there were so many close ups on the actors that you as a audience member forgot you were watching people watch other people. However, that made the shots of the people watching other people and the intermission jarring, which made it stick in your mind.
I am also interested to see how this show is lit. Will the “traditional” audience members will be lit and thus making them truly part of the show? Or will only the stage will be lit and in doing so create a more fixed separation between audience and cast?
rock on!
Yeah I definitely agree that during UV on 42nd St, the many close-ups made me forget that I was watching a “rehearsal.” I think one of the biggest challenges will be making our audience do the same–forget their location–even while they are ostensibly conscious of the meta-theatricality of it all. I imagine that a series of subtle lighting shifts, from all-stage to focused spotlights on the central, active characters–will help with that, too.