I went to see this play he directed called When We Were Young and Unafraid by Sarah Treem. I learned that day, Craig was a BEAST! I had met a man who was operating in his purpose, in his spiritual gift and he has been in my life ever since.
We talked about a “what if” scenario. This what-if was reimagining theatre. A world of play, an opportunity…
Read MoreSometimes the high stakes and pressures of a performance…can compromise one’s ability to utilize those processes for continued growth of fundamentals. It is an awesome thing that so many stories are being told in NE Ohio theatre, and surely, each story/play/musical, there are lessons learned and gained over the experience. We’re hoping to bring a more targeted and intentional approach to that sort of lesson building and removing the strictures that can pressurize or limit the experience.
Read MoreIt is altogether possible to get so preoccupied beating yourself up that you miss the forest for the wood shavings (not even a tree). I’ve tried to change my vernacular around what feels like “mistakes” or “wrong/bad” choices to “challenges” and “less clear” choices. That’s all they are. They are the wood shavings of one less option I need to pursue from a menu of infinite options that can build joy-filled art. There are lessons and forests to explore. Don’t get stuck in the shavings.
Read MoreAt one time I was squatting 765 pounds “ass-to-grass”. [Football] was my way of life and a huge part of my identity. I graduated from Ohio State in 2017 with a degree in world politics. One moment I’m taking a photo with my family and with my degree in hand. The next… I’m taking a very different kind of photo with a very different kind of document in my hands…
Read MoreI’m happy to take on the administrative tasks, but what I’m most excited (and scared) about is the opportunity to produce and direct two of our Salon Series new play readings. I’ve never produced anything before and haven’t directed anything since I was in college (almost 25 years ago). I’ve been acting since I was in middle school, but recently have started to feel like I should take a risk, do the scary thing, and look for something to direct.
Read MoreI think that Grand Concourse is pretty high on the list of the coolest and most immersive spaces that we have put on a show! ...[T]here are a lot of questions that need to be asked and answered. Sometimes you have to have the answers right when you decide on the space and sometimes the answers can come closer to the actual show
Read MoreOne of the helpful exercises that I took away from graduate school was the idea of doing a one page - front and back - conceptual statement for every show that I direct. I can't recall the book where the notion came from, but the writer called it a General Beauty Statement, forcing the director to confront what they find compelling and beautiful about the story they're telling, and what it has to say to the world.
Read More[S]he is losing so much. She’s lost her ability to communicate or connect fully with God, she’s lost her drive and mission, she’s losing faith in people, she’s losing ties to her family, and some other things that I’ll omit for sake of spoilers. She isn’t losing her faith - that feels clear as we’re working - but all the ways she knew how to operate in faith seem to be escaping her. Coping and finding strength through all of that loss is hard, and I think that’s a lot of what this play is.
Read MoreWhen Craig Joseph called to offer me the part of Frog in the Seat of the Pants (SotP) production of Heidi Shreck’s Grand Concourse I was flattered, delighted, and filled with a modicum of doubt. Let me explain the doubt part.
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![TRUST THE JOY, F[orget] THE REST; BY MICHAEL GLAVAN](https://images.squarespace-cdn.com/content/v1/5b7b6bb9c3c16adffa50482c/1729862476981-576MHW0WJ30WCMW2E9HN/741169.jpg)
