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Oh, it’s such fun to watch the excitement of young actors warming up, getting rid of pent up energy and refreshing with new energy.' They are unstoppable and embody all the excitement needed for acting. If only I could hold classes everyday for hours on end. But 90 percent of the job and time spent in directing a play is spent in the quiet, or hopedfor quiet, of an office surrounded by reference books that range from “Prefaces to Shakespeare’s Plays," “Performance Art,” “Isaac Asimov’s Guide to Shakespeare,” “Lexicon and Quotation Dictionary,” “Dictionary of Fairies and Forest Folk” to “W Magazine.”
Knowledge in all these areas is critical: analyzing the text, learning the historical background and getting ideas that would mix the contemporary with the Elizabethan for fabulous costume ideas.
And then there are the musical selections that will move the plot forward without drawing attention from the play. From a stack of CDs, I try to match the themes I’ve selected, Love, Power, Humor, Fantasy, with songs going back to the “Middle Ages” up to now with the wonderful, soul-delighting sounds of Pat Alger and the wild disco music that might set the Romeo and Juliet meeting at her father’s ball in a more interesting, contemporary light.
Quickly, what began as a showcase for the young actors who excelled in the “Best Christmas Pageant Ever," and the new members of the Young Actors’ Wing, becomes an epicsaga, a fantastical extravaganza, an unbelievable pageant, perhaps far to ambitious. But why not? We planned, designed, rehearsed, and
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