n earnest, this play is about a lot of things, and trying to sift through the layers of this play will probably only feel totally settled when we learn how it plays on an audience - which may be different from night to night (part of the added fun)….Catching up with our two ensemble members post-run, to find out what they had to say about the show after getting their first look…
Read More[B]eing in a space where there are easy and surprising laughs holds a SUPER high value. Getting to hang out with this cast - having some trusted time dedicated for us to be able to just…vibe - I find myself inspired not just by their art, but by what absolute kings of and queen of humanity they are….It’s a weird and cool sort of coincidence that we’re getting to experience the sort of connectivity in action that the play is championing... I think you can feel that in the art-making.
Read MoreWhat is art if it’s not shared? Who is a creator if no one is there to receive the creation?…
To love another / for who they are / you must know self acceptance first / & then / for all
Seen. No reflection. First hand witness. / Seen for what I am / not settling for just that / Seen for who I am to become. / Not what you want to see.
Read MoreFor every show that I direct, I write a one page conceptual statement to help guide the work of our cast and production team. One of the gifts of Seat of the Pants’ extended rehearsal process is that I don’t have to come with everything figured out on day one; there’s time for my ideas to change drastically as my collaboration with other artists morphs and transforms my thoughts. This has been especially true on AMERIKIN.
Read MoreI have a dream of starting my own theatre one day and I really appreciate these learning opportunities that let me test the water and safely work through problems and it also allows me to see if I want to make that dream come true.
Read MoreChoreographing fights for the stage is a bizarre and fun challenge. When approaching any kind of choreography (dancing, stage movement, intimacy, etc.) I try to continuously ask myself - and the director whose work I’m trying to support - what’s the story. Knowing the given circumstance of the scene is often enough, but other factors may contribute significantly to the final product. Last night’s rehearsal was a nice example of that.
Read MoreMichael Chekhov’s acting technique offers a wealth of tools to help actors go beyond simple imitation and truly embody their characters. One of his most fascinating concepts is the "Qualities of Movement," a method that helps actors explore how movement can reflect a character's inner life. At its core, Chekhov’s Qualities of Movement involve using physical gestures to convey the invisible aspects of a character. Rather than simply performing actions, actors are encouraged to explore how and why a character moves the way they do.
Read MoreToday we’re taking a look at some of the great work in process by two of our designers for Amerikin: Victoria “Kermit” Mearnini, costume designer, and Alan Costa, set designer. This is Victoria’s first time working with SOTP…
Read MoreIt was fun to watch the comfort and ease that was already developing between them - the rapport between their characters, the generosity they extended to one another as actors, and the sense of “I got you” that was already suffusing their joint efforts onstage. I came away invigorated by their beautiful and truthful storytelling and then was buoyed by this thought: “And we still have five weeks to work on this!”
Read More
![ROUND ONE: FIGHT [SLOWLY]!](https://images.squarespace-cdn.com/content/v1/5b7b6bb9c3c16adffa50482c/1740462485629-G85UJ0ACE1UGHK02XF2O/fight+3.gif)
