I begin writing this post at 11:30 pm Wednesday evening. I probably won’t publish it until after a I sleep a little (so I can check more clearly for flow and such) but I cannot help but write. My head is full of music and song. My dreams are full of possibility. Despite the fact that I probably got about a cumulative 3 hours of sleep on Tuesday night, I cannot lie down yet. I also won’t be able to completely rest until Nathan gets home, and he will probably be working until at least midnight after starting at 7:30 am.
Why such crazy hours? Why the mind full of chaos?
What is that you ask? Well, it is one of the main reasons that we made the move here. William Inge was an American Playwright who was born here in Independence. The festival that grew to honor his memory focuses on playwrights, each year handing out awards for new plays as well as honoring one specific playwright for his/her entire body of work and commitment to the field. For better descriptions of this event, visit the blog called Postcards from the Inge.
I spent the evening watching a the premiere staged reading of a new musical by Sheldon Harnick (who wrote Fiddler on the Roof) called A Docter in Spite of Himself that was based on a Moliere play. It was fun, fabulous, and truly entertaining. The cast, who flew in for this reading and the festival, included Tony Award winner Cady Huffman (The Producers) and Anthony (Rapp). (By the way, excuse the name dropping, but it will help you get a bigger picture of the whole event.)
This year the honoree happens to be one of my favorite female playwrights, Marsha Norman, who won the Pulitzer Prize for ‘Night Mother and as well as a Tony Award for the book of Secret Garden. She also wrote a play that I directed years ago called Getting Out and it was one of the best directing experiences I’ve ever had. The following slide show contains shots from that production presented at Castleton State College in Vermont.
I’m nervous about meeting this talented woman.
As part of the festival which includes workshops and other play readings, I am directing a scene to be presented at William Inge’s boyhood home. The scene is from ‘Night Mother and Marsha Norman might actually come see it.
What if she hates it? What if she loves it? What if she says nothing at all?
My actresses are fabulous and we worked really hard. It is a heart-wrenching scene, and I think we have all done good work.
So I think it will hurt the most if she says nothing at all.
I’m also doing a Panel about Theater for Young Audiences, but I don’t really know what we are discussing. I could make a complete fool of myself, or I could say some intelligent thing.
This could be the week that I collapse before legends, or it could be the week that I shoot for the stars. Let’s hope for the latter.