Q. What is it like directing Boeing Boeing? Any specific challenges for this production?
A. Directing this show has been delightfully intricate. We're doing a classical-style, door-slamming, French farce without any...well...doors, so timing, pace, and tempo have become vital. More than that it's proven tricky to develop characters that are vibrant and cartoonish but remain relatable to the modern audience. But I've got a wonderful cast who's not afraid of challenges, so I'm really excited to see what we create together.
Q. Without giving too much away, what is your favorite scene in the show?
A. Far and away, the character of Berthe is my favorite--and she has this scene at the top of Act II where she basically lazes about and espouses her theories on life. It slays me every time.
Q. What is your favorite line from the show?
A. There are a bunch of little tiny one-liners that are basically distractors from the actual subject of the conversation, and they tend to be my favorite. There's one point at which one of the fella's, seemingly out of nowhere, expresses his love for trains. Those are the money maker lines.
Q. Why do you think audiences enjoy farces so much?
A. I think the comedic basis of most farces is Schadenfreude. As an audience we're watching this impossible situation unfold, and as much as we're rooting for our protagonist to get through it with no consequences, we're also watching in delightful anticipation of when it all falls apart. I think we watch farces...I think audiences have seen farces throughout history...as a simple exploration of the idea that the terrible day we had at work, isn't nearly as bad as what these silly folks are going through.
Q. Boeing Boeing was first performed in London in 1962. What will an audience get out of it now?
A. In a couple of his interviews for the 2008 revival, Bradley Whitford is asked what it is about the play that he likes, and in between eye-rollingly silly comments about the lengths of mini-skirts he said something that actually resounded with me quite a lot: he said, "... this is profoundly unimportant. This is deeply shallow stuff..." And at first glance that seems like a bad thing, but when you take a moment to think about it--he had agreed to play this role two years after The West Wing ended. He had just spent seven years performing a role that in a show whose content was nothing but political philosophy--nothing but things that are profoundly important. So this opportunity to take a break--to work on content that is nothing but fluffy, silly fun? I bet he jumped on that. I would jump on that. 2014 was a rough year--every year is a rough year--I think modern audiences are starting to really love the idea of escaping into a world where nothing is terribly important.
Q. If you could sum up this show in one word, what would it be?
A. Ridiculous
Q. Do you have any projects coming up after Boeing Boeing?
A. I'm a dedicated and active member of The Unrehearsed Shakespeare Company of Chicago, and we have a wonderful 2015 Season coming up--starting with Titus Andronicus this spring. And, of course, I will be helping 906 out with whatever we decide to do next.
Q. What would you like to see 906 Theatre Company do next?
A. 906 is still growing--still reaching and learning and developing. We're taking it one project at a time right now, and who knows where the future will lead us. It's a company that was created on the bonds of friendship, and I think that if we can hold on to that, then the possibilities are endless. Aaron Sarka's beautiful adaptation of Dracula really needs to see the stage lights, and I'm ready to do whatever it takes to make that happen. We've discussed the possibility of pulling together a 10-Minute Play Festival and I think that would be delightfully fun. For me, personally, I am dedicated to finding a way to direct Bach at Liepzig sometime within the next two years, so maybe I'll get to do that with 906. Maybe not.
A. Directing this show has been delightfully intricate. We're doing a classical-style, door-slamming, French farce without any...well...doors, so timing, pace, and tempo have become vital. More than that it's proven tricky to develop characters that are vibrant and cartoonish but remain relatable to the modern audience. But I've got a wonderful cast who's not afraid of challenges, so I'm really excited to see what we create together.
Q. Without giving too much away, what is your favorite scene in the show?
A. Far and away, the character of Berthe is my favorite--and she has this scene at the top of Act II where she basically lazes about and espouses her theories on life. It slays me every time.
Q. What is your favorite line from the show?
A. There are a bunch of little tiny one-liners that are basically distractors from the actual subject of the conversation, and they tend to be my favorite. There's one point at which one of the fella's, seemingly out of nowhere, expresses his love for trains. Those are the money maker lines.
Q. Why do you think audiences enjoy farces so much?
A. I think the comedic basis of most farces is Schadenfreude. As an audience we're watching this impossible situation unfold, and as much as we're rooting for our protagonist to get through it with no consequences, we're also watching in delightful anticipation of when it all falls apart. I think we watch farces...I think audiences have seen farces throughout history...as a simple exploration of the idea that the terrible day we had at work, isn't nearly as bad as what these silly folks are going through.
Q. Boeing Boeing was first performed in London in 1962. What will an audience get out of it now?
A. In a couple of his interviews for the 2008 revival, Bradley Whitford is asked what it is about the play that he likes, and in between eye-rollingly silly comments about the lengths of mini-skirts he said something that actually resounded with me quite a lot: he said, "... this is profoundly unimportant. This is deeply shallow stuff..." And at first glance that seems like a bad thing, but when you take a moment to think about it--he had agreed to play this role two years after The West Wing ended. He had just spent seven years performing a role that in a show whose content was nothing but political philosophy--nothing but things that are profoundly important. So this opportunity to take a break--to work on content that is nothing but fluffy, silly fun? I bet he jumped on that. I would jump on that. 2014 was a rough year--every year is a rough year--I think modern audiences are starting to really love the idea of escaping into a world where nothing is terribly important.
Q. If you could sum up this show in one word, what would it be?
A. Ridiculous
Q. Do you have any projects coming up after Boeing Boeing?
A. I'm a dedicated and active member of The Unrehearsed Shakespeare Company of Chicago, and we have a wonderful 2015 Season coming up--starting with Titus Andronicus this spring. And, of course, I will be helping 906 out with whatever we decide to do next.
Q. What would you like to see 906 Theatre Company do next?
A. 906 is still growing--still reaching and learning and developing. We're taking it one project at a time right now, and who knows where the future will lead us. It's a company that was created on the bonds of friendship, and I think that if we can hold on to that, then the possibilities are endless. Aaron Sarka's beautiful adaptation of Dracula really needs to see the stage lights, and I'm ready to do whatever it takes to make that happen. We've discussed the possibility of pulling together a 10-Minute Play Festival and I think that would be delightfully fun. For me, personally, I am dedicated to finding a way to direct Bach at Liepzig sometime within the next two years, so maybe I'll get to do that with 906. Maybe not.