ONE SIZE DOESN'T FIT ALL - BY LISA WILEY

I moved to Cleveland in 2011 and began working at a variety of venues around the area, occasionally acting onstage as well. I stage-managed, designed sound and lighting, and eventually began designing props. Prop design gave me an outlet to create with my hands, and it soon took center stage as my primary creative focus.

I vividly remember how excited—and nervous—I was to design properties for my first show with Seat of the Pants: End of the Tour in 2019. I was actively seeking more design opportunities when this one presented itself, and I eagerly accepted. I hadn’t yet experienced a Seat of the Pants production, and although the company didn’t have a permanent “home” space, I quickly learned that everywhere felt like home when working with this group.

That season, I designed props for three shows in their lineup, each in a different location—a challenge I hadn’t faced before. I had worked in multiple theaters, of course, but this company performed in nontraditional, non-theatre spaces. It was hard work. We typically rehearsed in one or two locations and then moved into the performance space just five or six days before opening. While that kind of situation can be stressful, somehow it wasn’t. Not really. I never felt alone or stranded. If I needed an extra hand, all I had to do was ask. I quickly learned that respect for everyone and kind intention were non-negotiable values within this family.

I was truly introduced to the Seat of the Pants “process” during our production of Our Country’s Good. The rehearsal process spanned eight months of collaboration among the director, designers, and actors. We worked and played through the material together, discovering the best way to tell that story. This extended process allowed us the time to experiment, explore ideas, and find clarity in our storytelling. I was fascinated by the way actors and designers shared ideas freely, inspiring one another and shaping both character and design choices.

I was hooked. While the company provided a creative outlet for working with my hands, it also nurtured my other favorite aspects of theatre: digging deeply into story and character, and collaborating closely with fellow artists. I joined the ensemble eager to expand my abilities, to learn how this process could translate to other situations, and to continue collaborating with a diverse group of artists.

As a company, we continue to refine our understanding of who we are. We focus on process, recognizing that no two productions are the same. We’ve produced shows using varying rehearsal timelines, tailoring each process to the specific needs of the production. This flexibility allows artists the time and space to share and collaborate, because we understand that one size does not fit all—and that creativity should never be rushed. We also continue to thoughtfully consider our performance locations, producing work in site-specific venues. Community matters to us. We build bridges between our work and other organizations by offering post-show talkbacks and connecting our themes to the work happening around us.

Elephant’s Graveyard will be the twelfth production I’ve worked on with Seat of the Pants. What began as an exciting gig six years ago has grown into an ever-expanding group of artists I trust and feel at home with—no matter the venue. A group of artists who enjoy creating together, regardless of the timeline. A group of artists I love making art with and doing life with.