ARCHIVED MATERIAL 2001-2002
12/26/02
Even though the focus of my teaching is on directing and acting for film and television, I believe deeply that working in theater is not only good for the soul - it is fantastic preparation for film and television work. I want to give to my students something of the joy and freedom and growth as an artist and a person that I have gotten from working in theater. I also want to work with people who are committed and disciplined and interested in learning and growing, who put the play itself first, and who are interested, to paraphrase Stanislavski, in elevating the art in themselves, not themselves in the art.
Two Lights Studio Theater is an extension of the classroom. This "Classroom Production Project" came out of brainstorming sessions in February 2002 with actors and directors in the Actor-Director Laboratory. The Actor-Director Lab itself, of course, emerged from pairing the actors of my weekly Scene Study classes with directors who had taken the Acting for Directors courses I've been teaching since 1988.
We set out last February with the very ambitious plan of producing three programs of one-acts, and one full-length play - and in less than a year, we have accomplished exactly that! I couldn't be prouder of the actors, the directors, and all who helped so enthusiastically and unselfishly with production - plus all of you who showed up as audience members!
This is a dream come true for me. I have always felt that training for actors and directors should ideally be accompanied by performance opportunities in an environment of high standards and total support. We are growing in skills, confidence, community, and self-knowledge. The steps that took us here are archived under FURTHER POSTINGS ON THIS SUBJECT, and photos from each of the productions can be found by clicking on the various GALLERIES below.
Over the months of work on the 2002 productions, the Guidelines for the project have pretty much stayed true to the original ideas expressed at the meetings which are described in the archived letters dated 2/17/02 and 2/25/02. Here they are, collected and (somewhat) organized:
GUIDELINES
1) There are two central purposes of this "Classroom Production Project." One is the learning experience. Theater discipline is a superb preparation for many aspects of life - but especially for work in film and television. The other is the fun - the liberation, the connection, the high - that live theater uniquely offers.
2) There is no "producer." Everyone has to help out with finding props and costumes, building sets, folding programs, getting people to come, etc.
3) The amount of the budget is limited to what we can bring in from collecting suggested donations of $10 per person at the door. Even on this tiny budget we have been able, in the first year, to make major improvements to our physical plant. Credit for this goes to the bounteous contributions of talented set designers and several generous donations of set and lighting equipment and installation. This outpouring of support gave Judith and John the confidence to increase the Studio's investment in leasehold improvements. We are proud of the professional look, modern technology, and convenience of the Two Lights Studio.
4) But we also like its "home-made" feel. "Poor" theater is for us not just an economic necessity, but an aesthetic choice. Again - this is a learning experience. The point of sticking to a limited budget is not to settle for less than excellence - it is to learn ingenuity and stretch our imaginations. All programs of one-acts will be performed on a unit set - that is, there can be changes of furniture and dressing between the plays, but no changes of set walls. So the directors of the one-acts on the same program will need to collaborate on a set design that works for all of them.
5) The emphasis, for the actors, is on the freedom and confidence that comes from a serious rehearsal period and a significant run; and, for the directors, on their communication with the actors, and on learning to block and shape the emotional action. In other words, the hard work is meant to be its own reward. Solving the technical pressures of a fully mounted production, and dealing with the excitement and demands of pleasing an audience are definitely part of the fun and part of the learning. But we have to keep such pressures and demands in perspective - for example, by not getting too carried away with the technical side of things - because the best result is always achieved by attention to process.
6) There will be open auditions for all the roles, except in certain unusual cases that will be clearly announced. All actors who are currently in class - either scene study or the Actor-Director Lab - are invited to audition. Actors need to be in class for the duration of rehearsal and production. When programs of one-acts are being cast, the directors must collaborate and cooperate on the casting.
7) Directors will be chosen from among directors who have taken the Actor-Director Lab. I feel it works best if the directors are in class at the same time they are directing a play - it helps keep the focus on the acting and the storytelling and a sense of process. If an Actor-Director Lab is not going on at the same time as rehearsals, then they should come to Scene Study class on Mondays or Wednesdays - continued workout in acting class is good for directors!
8) Directors and actors are invited and encouraged to submit ideas of plays to produce - or to write plays themselves. We can use part of the budget for paying royalties, where royalties are required, but of course if writers are willing to let us use their material without royalty, that will leave more funds for set construction and publicity. I like the way things went last year and I am thinking we'll do something similar this year - but perhaps instead of three Rounds of One-Acts, followed by a full-length play in the summer - maybe we'll do two Rounds of One-Acts, followed by two full-length plays. A few plays that interest me are Suicide in B Flat (one-act - Sam Shepard), Krapp's Last Tape (very short one-act - Samuel Beckett), Mrs. Cage (long one-act - Nancy Barr), Uncommon Women and Others (Wendy Wasserstein), Time of Your Life (William Saroyan), Midsummer Night's Dream (Shakespeare), Camino Real (Tennessee Williams), the musical Guys and Dolls. But I'm very open to suggestions.
9) The "co-directing" thing. Final decisions on selection of plays, selection of directors, casting, set design, and scheduling will all be made by me (Judith), as Artistic Director and Co-Director on all productions. Basically I get my fingers in all the pies - I come to auditions, and as many rehearsals and performances as I can manage. In rehearsal, I listen to the directors' ideas, and make suggestions if I feel I can be helpful in making the directors' ideas work. But if I feel that time is running out or that something is going wrong or being missed - then I step in however I see fit. When there are differences of opinion between the director and me, we can argue it out, and let the best idea win.
10) The time commitment. Our rehearsal periods for the one-acts have typically been three times a week for three or four weeks, plus a big push during the last week before opening - set-building days, production meetings, and tech and dress rehearsals. When programs of one-acts are being cast, the directors must collaborate and cooperate on the allocation of studio space for rehearsals. The productions have a four week run, Friday and Saturday nights.
11) It is not possible to do this without volunteer stage managers and light and sound operators - house managers and graphic artists too. (For the other one-act programs we've also had stagehands, but in the future we might have the actors change their own sets.) So far we've had incredible contributions in these areas - the people who have made commitments to help out have been unbelievably talented, dedicated, resourceful, uncomplaining, and totally reliable - often way beyond the call of duty.
I can't take responsibility for finding the technical support - those of you who want to act and direct need to take turns helping each other out, and/or finding the people who will volunteer to make those commitments. As far as I can tell, EVERYBODY who has volunteered as stage manager, light/sound operator, graphic artist, house manager, set builder, stagehand - has had fun, learned a lot, and been very glad they did it. And, although this is not a "policy," I'm only human - I do find that my gratitude to the people who do volunteer makes me eager to be sure they get their chance at acting or directing as soon as possible.
12) It is of primary importance to me that this should be an environment of total support, creative expansion, and commitment to excellence - free of jealousies, resentments and gossip. Maybe expecting that to happen in a theater group sounds like hoping to reinvent human nature - but I can honestly say that in this last year we met and exceeded my expectations in this area - it was a truly happy and nourishing experience.
Finally, a very personal note. A year ago I announced I wanted to begin this "Classroom Production Project" but not on the "Showcase" model - even though, strictly speaking, it really is a Showcase, rather than a fully fledged competitor on the LA theater scene. I had put together true "Showcase" events (with the title "Stagefright") for my students in March 2000 and in June 2001, and they were quite exciting, fulfilling, and successful - and led to agents and work opportunities for a number of the participants. But by the second "Stagefright Showcase" I detected a level of anxiety building among some of the actors that was counter-productive to the goals I had for them of learning, good spirits, and teamwork. I felt I needed to make a shift in format that would lessen the "industry"-related anxiety at the same time that it raised the artistic stakes. A format that would more truly reflect the guiding principle that the creative choices should be controlled by the needs of the plays.
Also during the second "Stagefright Showcase," in June 2001, I had permitted "guest directors." This was a serious mistake that led to a perhaps inevitable, but for me extremely painful, battle for "chain of command." I am always willing to battle for excellence, to battle out ideas - I want, more than anything probably, to launch a flourishing and eclectic market-place of ideas. Let the best idea win! But I learned that I can't afford to spend my emotional resources on battles for chain of command or the political maneuvering that is too easily spawned by the presence of "guest directors." Then I came up with the "co-director" concept (see Guideline 9), which we've used throughout the "Classroom Production Project" of the past year, and which I feel provides the best environment for the creativity of the directors, the actors - and me.
We're all struggling to be heard, to be seen, to find our artistic voice. It's very helpful to do this in a community. One of my actors put it this way during the run of our fall play: "Oh yeah! It's a competition out there on stage! But it's a competition of adoration."
Love, Judith
9/1/02
We are proud to present our fourth Classroom Production at Two Lights Studio Theater. The actors are John Hoskins, Brian O'Brien, Mary Pringle, Bernard Van Bilderbeek, Amanda Sickler, Todd Malta, Max Bretos, Chip Sickler, Melissa Timme, Dave Clark.
Round Three ("Memory and Imagination"), which ran from July 26 to August 17, was another amazing experience. It was a huge leap in our technical commitment. Charles Dwight Lee designed and built for us three unique sets - one for each of the three one-acts - and in the process completely redesigned the possibilities of the physical plant itself (he has joined us again for Round Four). Director Robert Primes organized extraordinary donations of equipment, labor and expertise in the lighting. And director Tak Inagaki, together with Bob Primes, donated a Source Four spotlight.
The swiftness and scope of the technical expansion was challenging to say the least (for example, for the first time we needed two people in the light booth...). And did I mention that we had chosen extremely demanding material? But - with unbelievable dedication, commitment, caring, and sacrifices of time and convenience by everyone - it was pulled off. The actors and directors all did wonderful work, and grew tremendously from the experience. Thank you.
Love, Judith
6/20/02
The Second Round of one-acts (May 10 to June 8) was a great success! Many, many, many thanks to all of you who gave your energy, talent and support. We're now getting ready to begin the Third Round. Three one-acts have been selected and cast - with directors Dorka Hegedus, Bob Primes, and Tak Inagaki - and actors Binky Van Bilderbeek, Kristin Lorentz, Mary Pringle, John Hoskins, Jack Noonan, Morgan Vukovic, and Tara Ciabattoni. The show will run Friday and Saturday nights, 8:00 pm, July 26, 27, August 2, 3, 9, 10, 16, 17.
Auditions were more exhilarating and the decisions more painful than ever. We have a formidable talent pool. And the success of the first two rounds seems to have raised the stakes for everyone, actors and directors. Success is so dangerous! Of course we all are committed to the process as a way to learn, and grow, and support each other. But sometimes it gets scary. We're also now flirting with style - these plays are more impressionistic than the last two rounds. I'm not sure yet of the title for the program - I'm considering "Memory and Imagination" or "Romance-Anti-Romance."
4/27/02
Thanks to you all who have been interested - or involved - or obsessed! - with the goings-on at Two Lights Studio. Round One (IN THE PUBLIC DOMAIN) has been unbelievably great. One thing that was so important to the success of Round One was the inclusion of live music - Terry Harrington at the piano. I feel like I've learned all over again the importance of art in our daily lives.
We are now in rehearsal for Round Two of Two Lights Classroom Productions, with directors Michael Ruscio and Ben Rock, and actors Melissa Timme, Amanda Sickler, Jessica Cunningham, Dave Clark, Chip Sickler, and Todd Malta. Mary Pringle is the stage manager. I'll be co-directing, attending as many rehearsals as I can. And John will be continuing the lighting upgrade. Round Two is set to open May 10. Anyone interested in attending should contact us at TwoLightsRes@aol.com
Round Three? Coming up.
Love,
Judith and John
3/25/02
THE BEAR by Anton Chekhov
Director: M.F. McDowell
Actors: Rachel Toles, Mary Pringle, Max Bretos
THE STRONGER by August Strindberg
Director: Leslie Kolins Small
Actors: Katharina Wressnig, Melissa Timme
HOW HE LIED TO HER HUSBAND by George Bernard Shaw
Director: Cathy Fitzpatrick
Actors: Amanda Sickler, Sean Foley, Bernard Van Bilderbeek
Artistic Director and Co-director on all productions, Judith Weston
We are proud to present the inaugural program at Two Lights Studio Theater. We're really a classroom, the Judith Weston Acting Studio, where I teach classes for actors and for directors. This new project, a production arm of the studio has, I suppose, really come out of the Actor-Director Laboratory, a workshop that began last August. It was only with the Actor-Director Laboratory that I began to see that a fully collaborative community of directors and actors, with a teacher/artistic director, dedicated to learning and stretching rather than competition and career advantage, might actually be possible - even in Los Angeles.
All the plays on our program of one-acts are 100 years old. Believe it or not, we initially made this programming decision in the interest of efficiency (they are all in the "public domain," so we could skip the hassle of securing rights). We were sort of overlooking the obvious: that Strindberg, Chekhov and Shaw are probably the most demanding of playwrights ever (outside Shakespeare and Beckett). That, of course, is why their work endures. And why they are such a delicious and scary challenge for actors and directors in a student company.
But these plays are still remote for many modern audiences. It is quite impossible to set The Bear or How He Lied to Her Husband in any other era than the one in which they were written, because the ideal of love that would lead a woman to lock herself up after widowhood (The Bear), as well as the ideal of love in the courtly, hyper-romantic sense that might motivate such a suitor as young Henry Apjohn (How He Lied to Her Husband) disappeared from western culture very soon after these plays were first presented. The central notion of love that informs The Stronger, on the other hand - the sexual double standard - was not really questioned in our culture until the 1960s. So we have set The Stronger in 1951.
But even if the devoted widow ideal and the courtly love ideal and the sexual double standard (non) ideal may seem irrelevant to a modern audience, the deeper themes of betrayal, loss of innocence, and sexual foolishness that are explored and celebrated in these plays, will, I hope, always carry the potential to touch, enlighten and entertain us.
Please come! And enjoy these lovely plays.
Judith Weston, Artistic Director
2/25/02
FULL STEAM AHEAD!
There was a second meeting Saturday the 23rd.
1) We're starting simple, with evenings of one-acts. The first program of three one-acts is set to open March 22, and run Friday and Saturday evenings (and maybe Sunday) for four weeks. The second program (of three more one-acts) would open the weekend after the first program closes (April 19, or maybe a week later) and again run for four weeks. Then probably a third program of one-acts to open late May.
2) For the first program, we'll look for three one-acts that are in the public domain (don't need to pay royalty). Judith has already chosen one, "The Stronger" by August Strindberg - Leslie Kolins will co-direct it with her. Cathy Fitzpatrick will choose and direct a second one-act on the program - today she was getting excited about one by George Bernard Shaw. The third director will be M.F. McDowell, who is intrigued with "The Bear" by Chekhov - or may have an original piece for us.
3) Other directors are looking for material for second and third rounds. Directors who were not at the meeting and all actors are welcome to look and make proposals too. There are shelves and shelves of one-act collections at Samuel French. And if you have original material, we would love to consider that too!! People should start investigating the rights situation to any material they are interested in.
4) I want there to be auditions, open to all the actors from the group, for all the plays we do. I'm saying "open to all" because who knows? maybe we won't always restrict ourselves by age, color and gender.
5) The concept of "co-directing." I want to keep treating this as a learning situation, an extension of the Actor-Director Lab, if you will. So in a sense all the productions will be co-directed by me. I'm not talking about the "directed by" credit on the program - that doesn't matter to me. But I want to be involved, to come to some rehearsals, to ask questions, to step in when I see problems. And I will the one to sign off on casting, choice of material and production design (there can't be any production design that is so elaborate that it interferes with class).
6) Since it's going to be a learning situation, the pool of actors and directors need to be restricted to people who are currently in class.
7) After these programs of one-acts (summer I guess), it would be cool to do a full-length play, preferably with a big cast. A number of possibilities were tossed around, including: Camino Real (Williams), Marat-Sade, Bus Stop (Inge), Sensitive People (by a writer one of the actors knows), Time of Your Life (Saroyan), Uncommon Women (Wasserstein), Blithe Spirit (Coward), Lower Depths (Gorky). Again, it's not too early to start looking into the availability and cost of the rights. (Blithe Spirit and Lower Depths are in the public domain.)
8) In a way, every time a new group or venture is begun, whether it starts with a Constitution and By-Laws or with an email Contact List, there is an implied desire to redesign human nature (which is self-absorbed, easily offended, and contentious) so that a bunch of people can work together. The meetings have been incredibly helpful for me, in articulating a philosophy. This group, Two Lights Productions, or whatever we want to call it, seems headed for a structure of responsible anarchy, with two guiding primacies - the work, and the community. I couldn't be happier! No date has been set for a next meeting. Instead, I guess we're getting to work.
THANK YOU!
Judith and John
2/17/02
There were about 20 of us at the first meeting yesterday morning to discuss possible theater productions at Two Lights Studio: twelve actors, seven directors, plus me and John. I had forgotten this was a holiday weekend, so there were a number of others who wanted to come but were away for the weekend. Following are notes from the meeting.
1) The next meeting is scheduled for next Saturday February 23, same time (10:00 AM to noon). You are all welcome, whether or not you came to the meeting on the 16th.
2) Judith (me) talked a little bit about her own theater history, basically how the only reason to do theater is for the love of it. She touched on these subjects:
Why she doesn't want to do "Showcases" anymore;
Her desire to have a group that puts the material and the group well-being ahead of jealousies, resentments and gossip;
Not to put pressure on ourselves of having to produce shows that casting directors would come to and relate to;
How to have a group built on "grass roots" and consensus, but still subject to the final decisions of an artistic director (Judith);
The need for participants to take turns doing production work if they are not cast in a show;
Her promise that no one will lose out on being cast just because they are really really good or even invaluable on the production side.
3) Judith asked everyone to say a few words about what first came to their minds when they got the first email announcing the meeting, i.e. their hopes and dreams, fears, etc. Lots of great stuff came out of this sharing and discussion! Following is an impressionistic sampling:
(Director) "It sounded like a safe haven. I'm not a self-starter."
(Actor) "My first thought was this could be great. But what about the logistics of the space - no backstage?" (Many creative solutions were advanced to address this problem, from building more flats to having the actors make up on stage while the audience is being seated. Someone said, "We don't have to do Julius Caesar." Someone else said, "Why not?")
(Director) "I've been a stage technician, an a.d., I can wear different hats."
(Director) "I'll take on as much as I'm allowed to take on. I can dress sets, make props."
(Director) "If the work is process-oriented and seen as learning and training, instead of career-oriented and ego-oriented, then the problem of jealousies and resentments can be avoided."
(Actor) "The last theater I worked in was a lot of grandiose talk, pie-in-the-sky."
(Director) "We could do one-acts."
(Actor) "We could pick one subject, like a psychiatrist waiting room, everyone is a patient, create our own show."
(Director) "We don't have to do full length or even one-acts - we could present scenes people have been working on in class."
(Actor) "We need to make sure there is sustained interest."
(Actor) "What's important for me is the community aspect. The people I've met in classes here are like a second family. I want to educate myself and advance my own craft."
(Actor) "I want it to be a learning experience, and not worry about casting directors. The material is the most important thing. I think we should start off small, see what the interest is."
(Judith) "Don't forget, there is no budget."
(Director) "I'm a clean slate. I know nothing about theater. My first reaction was, what the heck is this? I live nearby so I decided to come, but I almost turned around and went home. But maybe it's another way to step out of my comfort level."
(Director) "My first thought was, everyone says LA has no good theater - this could be a way to make some good theater. I had a non-damaging experience in college - a great professor - we alternated big cast things that everyone could be in - Woychek - with cabaret theater, a program of 2 or 3 one-acts. I co-directed a production with my professor. I warmed up the actors, did some choreography, it was a great experience."
(Actor) "I didn't go to college, never had that. Recently I've been asking myself what am I doing in LA. I just want to do good work with good people. Everyone should live as creatively as possible."
(Actor) "I've been looking for a theater group. The groups I've been in, we always have to do the nuts and bolts, it's no big deal. In class here I've stretched and grown. Basically I'm looking for people that I like to be around. It's a soulful experience. Something I have to do."
(Actor) "I've loved everyone I've come in contact with here. I want to do great work and work with awesome people. In any capacity."
(Actor) "I don't care what we do or how it works. I've never been in a show when I didn't paint or build the sets."
(Director) "We could have Saturday morning presentations of ideas of what to do."
(Actor) "I was thinking of the things we'd need - time, money, talent. A database - we could post projects. People could say what they are interested in - "This month I feel like set decoration.""
(Actor) "I'm not a clean slate. I come with a lot of baggage. I have tried to get involved with five or six different theater groups. They are never collaborative, people are not on the same page. It's always just a bunch of individuals in a room. I've been guilty as charged of thinking it's all about business. I've been focused on business, I need to be concentrated on creative. So what if we don't have a backstage - certain elements have to be creative. Let's not try to be something we're not. It's LA, not NY. In LA people constantly try to use space in a way that's unworkable, and act in material that's not right for them. I say we all bring our own baggage, and just root through it."
(Director) "For me it's an excuse to come to America. I was just in Australia, visiting my family and my mother wanted me to stay, but I told her, I have to come back to America, there's this class that starts in two weeks. I've been shooting my movie, and all I want to do is keep shooting, forget post. I am happy, charged."
(John) "My first thought when Judy showed me the email she wanted to send was, Oh my God, how am I gong to protect her? But I'm optimistic. I want something like this to happen. I'm thinking about what Quincy Jones said when he produced We Are the World - check your egos at the door. We could get involved with process, helping each other, and the work. And anyway I know Judy - it's full steam ahead."
(Director) "I know I said earlier that I want to be process-oriented. But I want to do a whole thing, one-act, whatever, not just scenes. I'd do whatever it takes, borrow lights, put in my own money, to generate enthusiasm, make something to be proud of, that I could invite friends and family, maybe even producers. My reward would be if I could touch an audience."
(John) "What about the role of producer?"
(Director) "Directors could partner. I could produce yours - you produce mine."
(Director) "We might not have time. Directors have to find their resources."
(Actor) "I forgot to say earlier, I'm not interested in doing anything safe."
(Actor) "In Judy's classes I've played male parts even though I'm a woman. I've done Twelfth Night in a baseball cap. We can do anything."
(Director) "Would this be a dues-paying group, or would everyone involved have to be currently in class?"
(Judith) "This is a big question for me. I don't like the dues-pay model, it gives me a bad taste. I'd like it to be that people involved are all currently in class - but if you have a big role, you can't really carry classwork as well - and then it ends up your class fees are really dues, which I don't want. On the other hand, although I'm not planning to make money doing this, I can't afford to lose money by encouraging people to drop out of class to do a show."
(Director) "We could have a very small dues, even $20 per person per month, to build up some capital."
(Judith) "I want to go slow. I want to move organically, make sure there is interest. I don't want to jump into a dues structure. Or a big production "schedule." But I feel the time is ripe for a community, it doesn't have to be theater, it could even be a film collective instead of theater. Or both! I want to find out what there is energy for."
4) After a break, Judith proposed another meeting next Saturday, to bring in more concrete proposals. Judith has a few up her sleeve herself.
2/1/02
Announcing a meeting for any of Judith's current or former acting or directing students. Saturday, February 16, 10 AM to around noon, at the studio, 3402 Motor Ave. To brainstorm, focus energy, create wish-lists, and maybe even make some plans - to do some theater at the new studio. If you are interested, please come!
11/15/01
So far this page is just an open letter to my acting and directing students.
The first time I walked into the new studio, a few weeks before I signed the lease, and a month before we moved in on May 1, my first thought was, "We could do plays here." So I am now nervously and tentatively giving some thought to the idea of allowing the Two Lights Acting Studio, aka Judith Weston Acting Studio, aka Two Lights Studio Theater, to become a producing entity.
Already a Showcase evening of scenes and one-acts (Stage Fright 2001) went up in June. In October we received Equity Waiver status, and rented the space to a group of playwrights (Bootstrap) whose program of original one-acts ran for four weeks.
Right now I have a better idea of what I don't want to do than what I do want to do. Although it's possible that the space may be rented from time to time for brief "outside" productions, I don't really want that to be a major focus. I also don't want to focus on "Showcase" productions any more. And I don't particularly want to compete in the L.A. small-theater scene, either.
What I am envisioning is "studio theater" - student productions, but not on the Showcase model. The reason for doing it would be learning, and theater discipline would be part of the curriculum. In other words, not all the actors involved in a production will have equal size roles. There would be no real budget for production costs. Although some admission could be charged, ingenuity and elbow grease would have to prevail. Actors could do a postcard mailing to invite casting directors and agents as well as friends - but no display advertising, and no reviewers.
I'm not planning to be the director and/or producer of all the productions. So this is an opportunity for my directing students as well as acting students. I'd be the Artistic Director. Whatever that means. But it probably includes final say on choosing plays, casting roles, and deciding whether a production is ready to show the public.
Even though the focus of my teaching is on directing and acting for film and television, I believe deeply that working in theater is not only good for the soul - it is fantastic preparation for film and television work. I want to give to my students something of the joy and freedom and growth as an artist and a person that I have gotten from working in theater. I also want to work with people who are committed and disciplined and interested in learning and growing, who put the play itself first, and who are interested, to paraphrase Stanislavski, in elevating the art in themselves, not themselves in the art.
Here's a few thoughts of plays and playwrights I've already been noodling about: Camino Real (Tennessee Williams), Lone Star (James McClure), Krapp's Last Tape (Samuel Beckett), a couple of Horton Foote one-acts (Land of the Astronauts and The One-Armed Man), Uncommon Women and Others (Wendy Wasserstein), Proof (David Auburn, if the rights are available), Picasso at the Lapin Agile (Steve Martin), Time of Your Life (William Saroyan). And, of course, Waiting for Godot, The Three Sisters, and Shakespeare.
I'm open to ideas and suggestions. Maybe we need to set up a meeting sometime early in the New Year of people who are interested in exploring this? In the meanwhile, email or call me with your feelings and ideas.
Love, Judith
310 392-2444; judyweston@aol.com
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