Finding how to play the darkness lightly.

Another in the ongoing series of dispatches from inside the rehearsal process for Samuel Beckett’s Happy Days, written by the show’s director (and Cal Shakes’ Artistic Director) Jonathan Moscone.

Saturday July 25, 2009

So I was on my way to our rehearsal hall to work on the play with Marsha and Dan, and my left front tire blows on Highway 24. Luckily, no one was hurt. I was towed to Big O Tires in Lafayette and was picked up by one of our assistant directors, the great Nara, and I made it back only 10 minutes late.

The piece made some great strides today. Marsha is finding so much. And the first five minutes, which we all like to call “cement” (due to all these fragmented little thoughts, so many of them nearly repetitive, matched with all this business for Winnie) is coming loose and finding its way. Phew. We delved back into the rest of Act One and so much was found, again, and again, and again. Beckett is endless in his meanings and so tricky in his tonal shifts, and it’s all on Dan and Marsha to make it happen. And it’s fascinating, funny, moving stuff. We ended a little early—Marsha was ready to call it a day after so much had been achieved and she wanted to get home to keep working on the script, putting it all together in her amazing head. I remain astounded by her talent and wits, her instinct and her sheer talent. And Dan, with seemingly little to do, adds so significantly to the room, to the experience, to this whole piece, that I cannot imagine doing it with another pair of actors.

This is tough stuff, but we are trying to find how to play the darkness lightly, funny through the sadness, light over the dark, ultimately life affirming even as it makes your eyes well up.

Tough stuff. Amazing stuff. More anon.

Jon

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