Publicity team is hard at work. Here’s a listing for us on Playbill.
Back at work after a day off. Victor has made another pass at the end of the show and two other key scenes. The script is really taking shape and Victor is doing a great job to deliver scenes quickly. No doubt it’s a daunting task for him. I can imagine that he feels that he has to think on demand at points, rewriting on the spot. As difficult as that may be, he’s doing a great job and I think the voices around him are helping him find clarity. As Victor put it: “the actors are becoming the authority on the character.”
As artistic director, I made some decisions early on in preproduction that have handed Jack a number of tricky situations to contend with. We’re seating the show in an alley or tennis court arrangent. Basically there will be audience on two sides of the actors; the long sides, not the short ends. I feel that the intimacy of this setting will bring the audience right in to the house. As opposed to a classic proscenium setting, which keeps the audience at a distance. That intimacy is somehting that Miscreant is always striving to find and cultivate.
The catch is that the show is written for a proscenium. When the show was done as Victor’s thesis project in grad school it was staged in the proscenium. Though there are artifacts from that original vision written into the script, it is by no means binding. So far the only obstacle we’re facing in this newer configuration is that there’s no crossover in the space; meaning that once you’re on one side of the space you can;t get to the other side without the audience seeing you. So, as a result, Jack has to be ultra aware of entrance and exits and how they affect the next scene relative to each actor.
I remember watching Victor’s thesis production wishing I had been cast as Matt. Here we are 6 years later and I’m getting my crack at it. We’re 21 days from our first audience.