The Girl With Her Hands in the Sand
nytheatre.com q&a preview by Michael Hagins
July 10, 2012
What is your job on this show?
What type of theater do you like most to work on?
I tend to direct a lot of Shakespeare and other forms of classical theatre. I've done a lot of fight-themed plays, so working on a more beautifully written, artistic piece for the Fringe, while not new, is a bit shocking to me. I would have sworn I'd be directing a hardcore, sword-blazing play!
Complete this sentence: My show is the only one in FringeNYC that...?
really paints a picture (pardon the pun) on the duality of being an artist. The high points of the creative process and the low points of how tough life can be. The characters in the show are all on various journeys, and I while hope the audiences will enjoy the zombies and game-themed plays, they also will take time to enjoy seeing a well-written, artsy show.
How did you meet your fellow artists/collaborators on this show?
I met the writer, Jon Galvez, when he came to Neil Labute's The Shape of Things, which I directed in January in rep with Taming of the Shrew. He felt that his show compares well with it (it was called The Shape of Things meets Proof by outside parties) and went through an interview process that I was chosen from. The producers I met through him, and we've all collaborated well. As for the actors, I've had the pleasure of working with Katherine Mullis and Imran W. Sheikh in previous shows, and Tavis Doucette and Erica Jensen I've had a amazing opening connection with. They plus my stage manager Rachel Jerome have made this experience very rewarding.
Which “S” word best describes your show: SMOOTH, SEXY, SMART, SURPRISING?
SMART. Hands down. It's great to direct a show that you know the audience will connect with and can see the nuisances. There is so much happening and so much to analyze. I feel the audience will have a great connection with any one, probably all of the characters, and I'm looking forward to seeing and experience the audience reactions.
If you had ten million dollars that you had to spend on theatrical endeavors, how would you use the money?
I would buy a theatre space. NYC is losing a lot of its great theatres, and I would love to add one back. Especially one that is affordable and would provide a rewarding experience to fledgling theatre companies. Everyone deserves a chance to put on a quality show in quality space, and FringeNYC is one way, but it's only in the summer. I'd love for it to be year-round!