FROM SCRATCH: THE JOY AND FEAR OF CREATING SOMETHING COMPLETELY NEW w/ Neda Spears
I have been lucky to have been involved in several “World Premiere” projects - some that have died on the vine (sadly) and some that have seen some decent life after my iteration. All of them included lessons about myself, the different ways the creative process can take shape and the underlying current of the business of show. As a young actor, I was fortunate to be cast in a show that was staged in the now defunct Mandel Jewish Community Center. It was a musical based on Jonah and the Whale - yep, that Jonah. And it was called, “Oh, Jonah!” Original I know. Being a part of something brand new was exhilarating and scary and yet all those involved in the process were supportive, gracious and happy that we all were there eager to make something new for audiences to enjoy. Later, in Chicago, I was a member of a few casts that originated creative content that either was lauded as original, but could not draw in enough capital for the show to stay open or not original enough to draw in an audience for the show to stay open. In either case, the things I always took away from the experience is that I learned something new, understood the creative process slightly better, made some friends and was aware of how many people it takes to put something together from scratch and the funding it takes to make it all happen.
The journey that THE FIRST SNOW OF SUMMER has taken started years before this cast was put together - obviously the writing of the play (Eric Coble is a fascinating resource for discussing the writing process), but also read-throughs and staged readings. As Seat of the Pants became the producing theater, they had auditions about 6 months before the start of rehearsals and the script used for the auditions was different from the script we received when rehearsals commenced - and is different than the final work that was staged. One of the things that can be both frustrating and helpful is when the cast is given cuts to the script (meaning the author has decided to remove lines of dialogue or even whole pages). As one of the actors, it is sometimes hard to be objective about these cuts, but when they director(s) and author are watching, they can, of course see how beats and moments are playing out that we on stage can never witness. There are times, though, that we as actors have input about how a scene is playing out that the creative team watching is not aware of and we can offer suggestions that can also change how a line or scene is played. At the end of it all, one thing that I find always makes a successful run of a new show whether it is wildly successful or only enjoyed for a small amount of time - is that all voices are supported and everyone in the space and around it are there to find that spark of creativity that can be intoxicating to be a part of.
I would be thrilled if THE FIRST SNOW OF SUMMER and Seat of the Pants have a wildly successful legacy and that this show goes on to be lauded as great theater for years to come. But even if it is not, my part in it is forever cemented. And I look forward-with joy and fear - for my next original project and being taught more about this Business of Show.
