What I learned. . .
Always talk to your designers. As is often the case, I was working with designers who were new to me though not new to the Rep (Geoff Curley, sets; Frances Maggio, costumes) -- and I to them. We were all busy, accomplished people: Geoff and Frances in their home base of Chicago and elsewhere; I with various assignments around the country. Somehow during our preparation process we failed to communicate on a couple of key issues. Though I had approved a sketch and a groundplan of Geoff’s proposed set, I never saw a painted model or painter’s elevations. So when we suddenly arrived at tech rehearsal time, I realized that together we had managed to create a world that was almost entirely beige; a world in which too many of Frances’s beautifully detailed WWII-era clothes disappeared against the expansive, two story exterior wall of Geoff’s splendid American Midwest frame house.
This realization prompted quick, collaborative action. Kenton Yeager, Lighting Designer for the production and always the man you want in the lifeboat with you, completely re-gelled his plot; Frances began finding ways to alter her color palette in subtle but helpful ways; Geoff instructed the painters to add a blue wash to the exterior of the house, which Kenton was then able to expertly light for the play’s morning, afternoon, evening, and late night scenes. I think we all breathed a collective sigh of relief by first preview performance; although I learned all over again that preparation is everything and thorough, consistent communication will save the day, no matter how much trust yourself and your collaborators. Never go to auto-pilot or put the production vehicle on cruise control.
Getting to work on All My Sons was a thrill. I arrived fresh off the opening of Copenhagen at Indiana Repertory Theatre, and between getting to work on both productions – each of which turned out very well – I felt like I could retire, if only I could afford to retire. Two rich scripts, two excellent casts, wonderful production support at both theatres. . . it was a director’s dream come true – and a good reminder that if you start with great writing, are lucky enough to land accomplished actors who are right for the roles in which you’ve cast them, your work is that much easier. Never a walk in the park, but always a helpful head start.
Once again, the mix of new and familiar faces was elixir. I knew Jim Baker’s work but had never directed him; and it was a privilege to get to direct Rose Pickering once again, in this our third and, as it turned out, our final outing. Jon Daly, Lee Ernst, and Deb Staples – stalwart members of the Rep’s resident company were pillars in supporting roles; Jeannie Naughton, a friend from Utah Shakes and a regular guest actor at the Rep tackled Sue Bayliss with exactly the requisite bite and lack of sentiment; and it was a pleasure to introduce Christopher Marshall to the Rep in the role of George Deever, the avenging brother, straight out of Greek tragedy. Finding Tim Decker and Jenny McKnight through auditions in Chicago was serendipitous; I wish I could say I had much to do with Jenny’s performance as Ann Deever. Hers was the kind of characterization that builds carefully and quietly, one step at a time, until one day you sit up straight and wide-eyed in rehearsal, wondering how on earth such a fully realized human being managed to materialize right in front of you, without your really noticing the actor’s metamorphosis. Yet again: lucky me.