First Meeting With Jenna Messina

Jenna Messina, my illustrious director, also known as the portal through which all friendships pass, met with me last night for the first time to discuss "G.S."

Although the script describes the set as a neutral space with black curtains as a backdrop and a wooden floor, Jenna has the idea that everything is white: the backdrop and the floor. A truly empty space, a blank sheet of paper. What a great image, since "G.S." is concerned, in part, with two writers' creative process. Starting with a blank sheet of paper seems appropriate.

We've also decided to hold auditions, rather than simply asking people to participate. Jenna feels that the physicality of the actors will hold great weight in this play. If a big, strapping brute of an actor is cast as Alfred and a more diminuitive actress is cast as George - and yet, George is able to completely dominate Alfred within the context of the play, that would be interesting. Jenna would like to see how different physical types play off against each other.

This means we will have to wait until after Pandemonium! at CPT (on September 12th) to hold auditions. We will have to find a space to hold auditions. We will have to let the acting community know we are holding auditions.

Some of the actors Jenna wanted have already committed to Big [BOX] projects and won't be available.

Jenna and I also discussed my role as writer/producer and her role as director. We want those roles to be clearly definied so we're not stepping on each other's feet and - more importantly - that we're still friends at the end of the project. Jenna will be the conduit between myself and the actors. I will not give actors' notes, but will express whatever concerns I have to Jenna who in turn will decide whether or not those concerns warrant speaking to the actors. My goal is to be objectively removed by one step of the process so I can focus on the shape of the play itself. Jenna is not opposed to making script changes as the rehearsal process begins. We'll have to decide on a point where the show will be frozen so the actors don't lose their minds.

Prior to our meeting, I made a list of costume, prop and set pieces required for the show. Because the actors will be dressed in period style and are portraying historical figures, costumes will be more problematic than if I had written a comedy set in present day. And then there's the issue of people taking off and putting on those clothes.

(Yes, folks, this is a "mature content" show and no one under 18 will be admitted.)

That led to a discussion about what actors would be willing to disrobe. Specifically, whoever plays Alfred has to be completely naked for a good portion of the show. This also brings up another point: if an actor has a physical imperfection, will the audience focus on that during these scenes and miss the point of what's going on. OR if an actor is physically perfect, will the audience focus on that during these scenes and miss the point of what's going on....

How do you get an actor to disrobe for you if you're holding auditions in a public library? My guess would be, you don't.

We also had a lengthy discussion about music. We are both in agreement that we want to use modern music between scenes. Gertrude and George were, in a sense, the bohemian rebels of their time. What musicians of today represent that cutting edge, pushing-the-envelope trend? What do they have to say about love and commerce and art that would comment on what's happening on stage?

Ah, music...I'm sure I'll have more to say about that later.

So, there you have it. Our first baby steps toward production in February.

We were the last people left in Anatolya's at 11 pm. I looked around and was surprised to find all the other diners had gone. That's how immersed in conversation we were.