Registration for the Lincoln Center Theater Directors Lab 2008 began at 2:00 PM. We got packets and badges. Then they took a group photo on the steps in the lobby of the Mitzi Newhouse Theater. I wish I had the photo to post here. I actually brought my camera, but didn't take a single photo all day. Sorry folks. Anyway, it's not an attractive crowd. It's just directors.
After the photo we were led down into the depths of LCT to the large rehearsal room. I had flashbacks. This is where, as a student - way back in 1988 - I had acting classes with William H. Macy, Felicity Huffman, and Stephen Schachter. The room was pretty much the same, but cleaner.
There were opening remarks by LCT Executive Director Bernard Gersten. Bernie was also my teacher. I remember our class on producing meeting twice a week in the lobby to discuss how to bring in an audience for Speed The Plow. Gregory Mosher was the Artistic Director back then, and Maddona - yes, that Madonna - was spotted in the halls on her way to rehearsal. Bernie looks great now. Much thinner than I remember. And he's produced another hit - the revival of South Pacific directed by Bartlett Sher. (Mr. Sher will be coming to talk to us all next week.)
Next, we had our orientation from the creator of the Director's Lab: Anne Cattaneo. Anne is a petite woman with a dazzling smile and very hip eye-glass frames. She talked for about forty-five minutes. I took meticulous notes as she spoke. Her articulation of what the lab is and is not could serve as a primer on the process of creating theater. It was the singular highlight of the day, and at the risk of plagiarism (and of not doing justice to her speech) here are the Ten Points she articulated:
- The Lincoln Center Directors Lab is not a teaching situation. It's not about mentoring. Nobody is considered more "important" than anybody else. We all have experiences that are valid and worthy of consideration.
- You will experience some of what you encounter as utter non-sense, and other things as incredibly enlightened. Look for the things that you least expected.
- The Directors Lab takes place in a theater - a real, live, working, operating, theater. Some things are practical - not theoretical. (At this point Anne describe "kicking Alan Alda out" of th e room we were in to begin the start of the day.)
- The Directors Lab is intentionally large - 45 or 50 people. Its main asset is as a place to meet other people. Will directors even like one another?? It remains to be seen.
- The most important stuff will happen in a bar.
- Guests come into the Lab by serendipity (i.e. - whatever is going on and whomever happens to be in town at that time.)
- Distrust the notion of choice. "It's not true that a given director's career is created by institutions." Nobody at a big institution will pick you out. You will make your own career.
- Social aspect. Actress Lois Smith said "What I do in a reading bears no relationship to what I do in a rehearsal." The process is completely different as an encounter on a deeper and more personal level is what creates the work. Hence....Director Richard Ayre: "Invite the leading actor and designer to your house, read the play, and stop and ask 'what does this mean to us' at every scene, turn, punctuation, question." Group together around the play.
- Question: Who is in charge when you're really making art? Ride the horse in the direction you are going!
- We have a bias toward the actor.
Finally, at 5:00 pm, we received an official welcome from Lincoln Center's Artistic Director - Andre Bishop. Andre has a deep and authoritative voice. He could make tons of money doing voiceovers. He told us all to "take advantage" of Lincoln Center and the opportunity we have before us. "Remain open" was his message.
After a break from dinner, we had a talk from Steve Cosson, Jim Lewis, and Michael Friedman from the ground-breaking theater company The Civilians. Their new play This Beautiful City is based upon interviews with residents of Colorado Springs, CO, and focuses on the Evangelical Christian movement there. They were all whisked away at 8:00 PM sharp to receive their OBIE Award which coincidentally was also happening tonight.
Lastly today we had a visit from director Ruben Polendo of Theater Mitu. It was a fascinating talk. Mr. Polendo studied with Peter Brook and has created a philosophy of "complete theater". He is an engaging and charismatic presence, but I was conflicted about his philosophy. It was basically a re-hash of Peter Brooks' writings, but I will reserve judgment until I actually see his work. Theater Mitu is in residence at New York Theatre Workshop and will be presenting their new work The Apostle Project June 4 - 15.
Mr. Polendo said one very important thing that deeply resonated with me: No fear, no deception. This is the measure for your work. I thought that was wonderful, so thank you Ruben for that.
I can't promise this detailed a blog every day for the next few weeks but I'll do my best. Stick with me. I think it will get better.
Wayne
