One of the things that enticed me to join the crew is how SotP prioritizes the continued artistic growth of our ensemble members. One of the ways we do this is by offering Growth Opportunities, where ensemble members may shadow other artists and learn about their process. I’ve wanted to dip my toe into directing for a while, and so I chose to shadow Craig Joseph as he directed The Children.
Read MoreI think at this point in society - particularly in my millennial age group - it's not very common to stay with a place for more than 5 years, let alone 10. So I found it surprising when Craig mentioned to me the other day that I had been working with Seat of the Pants for 11 years now. Because of this, I’ve had the rare gift of some insight into this company: where it’s come from, where it is, and where it looks to be headed.
Read MoreTHE CHILDREN is a one act play, set in the real world, and structured as only one scene. How much sound design could there be? Despite the deceptive simplicity, plenty! The sound equipment still has to be set up, other designers need to be collaborated with, and decisions about content need to be made. By giving you insight into my work as the sound designer on THE CHILDREN, I hope to help you more fully engage with this play but also more deeply appreciate the sound of all future productions you attend.
Read MoreWe recently had the opportunity to sit down for a chat with Laura Starnik, who plays Rose in our current production of THE CHILDREN, running through November 9th, and here’s what she had to say.
Read MoreIn the end, the design is about containment. It’s a single room, but one that holds memory, regret, and consequence. The beams lean, the windows look out toward the sea, and the cottage becomes a vessel for human lives caught between the comfort of home and the vast uncertainty pressing at the edges.
Read MoreAs an intimacy director, at least half of my job is asking questions. I have questions for actors; for directors; for costume, lighting, sound, and set designers. But my favorite questions (even when they can’t be answered directly) are for the playwright.
As a playwright myself, I know that every stage direction (at least in most scripts written since the ‘70s – but that’s a conversation for a separate blog post) has been just as carefully crafted by the playwright as any line of dialogue. So it is my job (and joy!) to analyze intimacy-related stage directions with as much love and vigor as an actor will analyze their lines.
Read MoreEver wonder what exactly a dialect coach does on a production? Now’s your chance to find out! In today’s blog, join Matt Koenig as he walks you through the type of work he’s doing for our upcoming production of THE CHILDREN. And try out some dialects for yourself!
Read MoreRecently, we had the opportunity to sit down with Nanna Ingvarsson, who is making her Seat of the Pants debut in our production of THE CHILDREN, playing the role of Hazel. Here are some excerpts of what she had to say about the play, her role, and her process of acting in general.
Read MoreIf you’ve been following Seat of the Pants for a while, you know that one thing we do to get our cast and production team on the same page is to collaboratively create a conceptual statement to guide our interpretation of a script. Though it’s written by the director, it comes out of conversations we have as a team around the table and discoveries that we make on our feet in the rehearsal room. Here’s a teaser of where we’ve landed for our production of THE CHILDREN, opening on October 24th!
Read More
