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When you respond to material when the material kind of sings out to you or you
say yes I have those thoughts or have I those feelings or
I have an idea about how to tell this story or an angle from which to
approach
this character. That little moment of inspiration can become a fire can't burn
throughout the production
Are you sleeping with her?
I am, we're happy. Wow, you left your apartment?
She doesn't need me to do that. She understands. So, the thing is you don't need to come here anymore.
The way the idea for the play came to me is that this
person
and it turns out to be a young novelist was written one incredible book that
has something to do with the events around nine eleven
has kind of lost his way and lost faith in himself and lost faith in the world
and he hasn't left his apartment in two years and he stopped writing
She left Phillip for me and I've been seeing her quite a lot actually.
I relate to the
apathy and ennui
of sebastian
whose the lead character
and i think
uh... a certain level of success
can make one very disassociated from
the world. and that's what Sebastian is dealing with and so it's a character i wanted to
explore more of.
and he's in trouble using the tremendous amount of pain in trouble
and uh... so the question of the play right from the beginning is
how's he going to leave the apartment
what's going to get them out? Is he coming out frankly in a body bag?
that's what kind of focusing on in workshops just basic questions that are
going to arise
uh... when we get into rehearsals by
facing them now a month and a half before
it gives us all an opportunity to sleep on it
to think about it
and uh... uh...
maybe come up with some conclusions maybe come up with some more questions
but we'll arrive
hopefully much more prepared for the rehearsal
uh... and we can dive right into directions and putting it on its feet.