ENDINGS AND BEGINNINGS [PART DEUX]
THANK YOU to everyone who came out and helped us break a new box office record for a run of a SOTP production during Amerikin!
The Story
On theme with our entire season, Amerikin was a play that asked of the audiences and of the characters to embrace an ending in hopes of finding a new beginning. Actually, Amerikin was full of endings: the end of relationships, the end of connections to a flawed history, the end of disillusionment, the end of condoning passivity in the midst of violent atmospheres, the end of isolationist ignorance passing as shallow validation for fear-driven bigotry, the end of desperately clung-to facades and hollow affiliations as the norm. This play was relentless. Craig mentioned in a conversation with some friends & patrons of the company that this was probably the most unrelenting play SOTP has done in its dozen year history. In exchange for all of these endings, there is, we hope, a glimmer of healing. Each character by the end of this brutal story has found a path toward healing - even despite tragic circumstances. This show is not without its just desserts, but in accepting those realities, even if they are thrust upon the character, Chisa Hutchinson gives each of the lives within this play a glance at a more whole and further healed transformation for these characters.
The Production
This group of actors came READY. Mostly off-book by the second week of rehearsal (some by the first), this group of artists came ready to get dirty, play around, and do whatever they could to support one another while navigating some challenging subject matter. This proved extra helpful when tackling what is a beast of a play structurally. A bit like the first play of the season, Grand Concourse (which we mounted in the basement kitchen of a local church), this play is a slow burn. There’s some shocking material that fires hot, but narratively, act one works more like a prologue to set context for a very differently structured and styled act two. Having an ensemble-sense of readiness while chipping away at how to find the flow of this play was imperative; and by the time we got an audience, the flow had found a self-assured rhythm.
Post show we got to engage with some really great partners: Dr. Debbie Plummer from Getting to We, and our nightly cameo from City Dogs and their amazing volunteers. Both of these partners illuminating another way the mission of the art onstage can manifest in the world we want to see around us. We’re so grateful to have groups and organizations join us for these opportunities. [And darn it, those were some cute pups - STILL AVAILABLE FOR ADOPTION!]
In one post show talk-back, the cast had the chance to chat with audiences about their reception and curiosities about the play. I’m absolutely kicking myself for not having recorded any amount of it. Nevertheless, the questions that came from the evening’s spectators and commentators were some of the most gratifying feedback I’ve ever had from a production. There were interrogations as to which tools fueled individual characters. These insights were greeted with nods and affirmations of recognition as each actor shared a bit of their personal processes. There exists a hope that the end of our process may inspire an interest in process for something new to come.
The People
It's a special feeling when someone crosses over from being a colleague to a friend. On Sunday, a show closed and a lot of friends took a final bow together.
Onto the Next
One show closes and another begins! Last night launched the first process week of The First Snow of Summer by Eric Coble with an extraordinary cast of artists. There will more voices speaking into these posts from those artists directly. It is a thrill to be home to a brand new work with many brand new artists to the company and exploring a brand new mode of process with them. Stay tuned.
Thanks ALL!
