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Went last night and saw the Springboard reading of Again and Against by Betty Shamieh. Being that it was a 2 character play that ran for 100 minutes, I would say that Shamieh did a good job holding attention and creating intriguing characters. It also is worth seeing for the mere fact that Beth Wood directs Raymond Bobgan and Chris Seibert. That said, **Spoiler Alert coming at you so don’t read on** the transition of Omar the Arab FBI agent from a “translator” bumbler to the “head of the department” mastermind at the end was a bit unbelievable, as were a host of traits he exhibited: anger, physical violence, language, and certain phrases (such as the use of “kid”—“don’t throw your life away, kid”), that I just didn’t buy.

I learned in discussion after the play that this play by Shamieh has been staged before, on the continent. That surprised me. The play felt unfinished and unfocused and as if it were searching for what it meant. It is a play in which truth is the actively sought-after goal and the “truth” of these characters is never clear. I thought this was a flaw in the play and a part of the reading/development process. After learning that this play has been staged before, it is likely that the inability to establish truth is intentional on Shamieh’s part. That is what I must conclude about the play. Almost like the inability to establish meaning in Waiting for Godot, there is a fundamental inability to find out what is true—for the audience, for the characters, and perhaps for the actors.

The play covers a lot of volatile turf from Arab American treatment to 9/11, to terrorism and the ideas of what that means—from both the “American” perspective and the perspective of others toward or about Americans. Sometimes the play got a bit preachy and journalistic, trying to report facts—for instance about the U.S. policy (unstated but enacted) of handing over terror suspects to Syria for “debriefment”. With Syria having more flexibility in its approaches to detainees than the U.S., which is “hamstrung” by a thing called the Constitution.

There is a great amount of humor in the play, which is important, again, as the thing would be depressing and possibly didactic if left un-interrupted or if the rhythm didn’t alter in the playing. There are some surprisingly strong moments, one of which comes from Omar the Arab FBI agent describing the murder by an Arab father of his daughter for disobeying him. That moment alone is worth seeing the piece and makes me think one very personal concern of Shamieh is the treatment of Arab women by Arab men. A sad fact of this play is that this amazing story from Omar is later “taken away” in a brief moment where Omar says that he made it up. That is part of the confusion of this play, and perhaps the disappointment. I understand that there is much to be gained by playing with the nature of truth and that this has been successfully done in other genres—think [amazon_link id=”B00000F214″ target=”_blank” ]The Usual Suspects [Blu-ray][/amazon_link] for instance. I just don’t know if it is effective here, as there is nothing for me to hang my hat on or walk away with except a strange vague suspicion about something. And the thought that maybe, maybe this was her point… but I can’t be sure.

The big draw for this reading was seeing Chris Seibert and Raymond Bobgan acting together. It was worth it. If you’re on the fence about Springboard or this piece in particular: go and see it. With Beth Wood directing and Raymond and Chris starring it is something to see and be a part of.

Was watching an interview/discussion with Austin Pendleton on Theater Talk. It is a wonderful interview with plenty of insight into acting, directing, and theater relationships. Pendleton was talking about his upcoming productions of both Three Sisters and Detroit. Detroit is on the cover of American Theatre, either this month or last month, including the full text of the play. With Three Sisters I can only think of the Wooster Group production and Willem Dafoe speaking in his wispy, mellow way.

Anyway, the other night I was watching Zoldessy choreograph the movements of the actors in the East Storefront. He kept having them move and the he’d stop and think about it for a bit and then he’d talk about it and then he’d have everyone go back and run through the movement again. Zoldessy must have spend :30 minutes or :40 minutes on a page-and-a-half of the play, and I could tell the actors were getting antsy and there were only 10 pages left in the play and the hour was getting late, etc.

It was at this moment that I remembered the interview with Pendleton. In that interview he recounted how Jerome Robbins, during a 1964 production of Fiddler on the Roof spent 6 hours staging and re-staging a scene that was all of 5 minutes on stage. Now, Robbins could get away with it because he had paid actors who were acting as their job. Nonetheless, Robbins was, according to Pendleton, very committed to telling the story, that is, making the reality of the characters and their relationships truthful and real. The 5 minute scene was the family preparing for the Sabbath, and Robbins felt that the scene showed relationships and established character and was important enough to examine and block again and again until it was just right.

Pendleton then talked about his first gig as a director and how he blocked out the whole play in his mind. And then, with some other play that he was directing he didn’t get the chance to do that and felt awful about it, and unprepared, but, to his chagrin, discovered an organic approach, what he referred to as “expressive blocking.” Pendleton felt that this kind of experimenting is important and characterized it as working with clay, but you’re working with actors. And once the actors are interacting you begin to see things.

Jarod and I were at Happy Dog the other day talking about how much Zoldessy is bringing out in the play that is not apparent in the text, and much of this has to do with this process.

Pendleton also attributed a heuristic to Kazan, I think, that when it comes to successfully staging a play that it’s 80% casting, and 18% the ground plan: a ground plan that is expressive of the story.

Pendleton also talked about approaches to directing actors, including spending a certain amount of time at the table discussing the scene. What’s the event in the scene that moves the story forward. How are things different at the end of this scene than they were at the outset. Very traditional in that respect.