from the director's notebook v.3

9. 12. 11                      9:48 pm

Today were auditions for Bitch and Universal Monsters. There is always a slight nervous feeling that hits me whenever I hold an audition. I guess I tend to worry that what and who I'm looking for may not show up. However, one thing I believe in is, you don't have to worry about that in New York. There will always be one or in most cases, many people who can fill the roles you are looking to fill. With so many performers in the city it becomes much easier to cast a show. 

At my last audition, for 4.48 Psychosis, I bumped into Tim Gunn. Let me rephrase that. At my last audition, Tim Gunn bumped into me! It was outside of Parsons on my way to Ripley-Grier. And as he accidentally tried to walk through me he said, "Oh! Love that chartreuse!" I know, very exciting. He was referring to the color of my polo. A compliment from Tim Gunn on your fashion choice is like having Bobby Flay tell you, you make wonderful grilled chicken, so I knew that my auditions were sure to go well! Needless to say, I didn't bump into Tim this time around. But I did walk past a poster of him on my way to the theatre that read "Make it work" so I took that as some sort of a sign that things would go well. 

There was a great audition turnout and we had a great mix of performers. I wanted to see actors with both film and theatre experience because Sean's language lends itself to a more cinematic approach. It has made my decision very hard because I had so many talented men and women come through. Casting is a decision I am going to have to think carefully about. How the actors look together plays an equal role as to how talented they all are. Luckily I have a few combinations so I'll certainly have to come to a good decision. 

Outside of auditions, I've been busy working on scenic and design sketches to get ahead of the game. I tend to be a perennial planner and constantly push to be ahead of my own schedule. This can be both a great relief to Keri Anne; the Executive Director of our company because it makes her world 300 times easier, but it also can become a bad thing. Especially when I start to second guess the decisions I have made and start to tweak them, specifically for the fact that I have time on my side. 

With that said, I believe that I have finally touched upon my final design choices for the Universal Monsters series key art, as well as the scenic sketch for Bitch. The key art for Bitch still needs development, yet I would like to share some of the ideas that have influenced the execution of the current scope of work.

For Universal Monsters, Sean Pomposello and I wanted to create an aesthetic that heavily correlated with the themes in his pieces while intriguing a theatre goer in an abstract way. Sean's work heavily focuses on "man's inhumanity to man" and we wanted to create a visual conceit that pushed that theme. His plays tend to focus on people who wear "masks." Figuratively speaking, characters whose presence is cloaked in some sense. With that in mind, we went for this image as our final look.

A young girl, wearing a gas mask with her Teddy bear following suit. It calls towards the idea that a monstrous human being can appear to be very much the opposite. 

For the set, this sketch is what I have been seeing lately, so I'm eager to perfect it. 

The play takes place in a cramped, Bronx chop shop. I wanted to create depth and lines in the design. The aerial piping and wainscoting help to set the tone of the place. This also has lead me to create interesting ideas for the "dog's blocking." I won't divulge all just now. 

As for the key art for Bitch, here are a few ideas. I'm having trouble realizing this but I love the photo Kelly Marsh has taken. It speaks towards animal cruelty, the greasy aspect of the chop shop. But what I like is how the wrench is evocative of a dog bone. I'm sure I am close on this one!

I think that's it for now. This is what happens when I write my blog posts on the subway, I end up writing short stories. I hope somebody finds them insightful. Who knows, maybe Tim Gunn does. After all, I am starting to believe that he may be my  audition fairy godmother!

-Christian

The director's notebook is a blog Christian Amato started through theatre projected in order to allow people to see how a younger director approaches his work.

Part 3 of 3/Mini-Interview with Sean Pomposello on Bitch

Part 3 of 3 with Sean Pomposello on Bitch. Stay tuned for our next video spotlight on Sean's 

Universal Monsters series.

Interview 2 of 3 w/ Sean Pomposello on "Bitch"

from the director's notebook v.2

8/31/2011                3:00 PM

It has been a interesting week! I'm starting to realize how tough it is to manage a Kickstarter campaign. That in itself is like having a full time job. I think a secret is having a lot of content. The campaign in itself is a little over a week in, so I'm not to worried about the progress as of yet, I feel that people will be more provoked to donate later on in the campaign. As for content, I believe that the interviews with Sean are great. They give an audience a chance to learn more about the person behind the words. There are two more interviews regarding Bitch, and then we will be moving on to discussing the plays in Universal Monsters.

Outside of the whole Kickstarter world, auditions will be announced later today and casting notices will be going up. I have been debating over whether or not I should have sides available prior to the audition, or if I would like to do cold readings. Typically I prefer cold readings because it reveals an actor's abilities instantaneously. It also shows how quickly an actor can develop a concept behind a piece of text, which fascinates me.

Regarding what I will be having those auditioning read, I'm not only looking a the Bitch script. I'm also looking into the plays in the Universal Monsters series. The great thing about Sean's writing and his style with language is it's consistency. Since the performers will be auditioning for Universal Monsters and Bitch, it will be the perfect way to evaluate them for the work as a whole. 

Design wise, our key art for marketing was just completed. Scenically we are in early phases of the design process. I had been planning to discuss that this week, but I am holding off until next week when there is more imagery to share! The interesting thing is that the set is the office of a chop shop, so there is a lot of fun in considering the objects in the room. The set must be easy enough to move quickly in terms of strike, but hearty enough to appear permanent. It will be a challenge but I think it will turn out very well. Regarding key art, there is a big play with the masculinity of the chop shop paired with a subtle hint of animal cruelty. Being that the play focuses on dog fighting, our imagery aptly touches upon numerous ideas while maintaining a strong design aesthetic.

I'm eager to share the design concepts at length, so expect another post very soon! Feel free to send in questions as well as well as comments and please share our Kickstarter project!

-Christian

The director's notebook is a blog Christian Amato started through theatre projected in order to allow people to see how a younger director approaches his work. 

Mini-Interview 1 of 3 w/ Sean Pomposello

Interview with Sean Pomposello

Check out our new interview with Sean Pomposello, writer of Universal Monsters and Bitch.
This is part 1 of many other interviews with Sean to be released!


Also, were now on Kickstarter! Please show your support and share with your friends..

from the director's notebook v.1

August 15, 11:40 AM

As I sit on the two train en route to meet up with Sean, the playwright I am fortunate enough to be working with this fall, I cannot help but be nervous. Despite having met a couple of times in person and sharing a regular dialogue through email, today fills my stomach with excitement as my nerves jump like a student at his first day of classes.

Today I will be filming an interview with Sean where I will be asking him questions to learn more about his play Bitch and his play series, Universal Monsters. This is the first time I've had the opportunity to work with a modern playwright and actually speak to him one on one. What has been fascinating is the way I can read his word and then be able to question him about it.

Sean Pomposello's writing intrigues me in the simple fact that it combines New York's grit with a cinematic movement and a conversational thread. It reads very naturally, and with auditions fast approaching and the summer coming to a close, I look forward to being able to getting inside his mind. 

Email interaction can only go so far, but to truly understand the play, I must truly understand Sean. This video interview should do the trick! As I prepared the questions, I thought of how a character in Bitch might ask them. I wanted to avoid a "Inside The Actor's Studio" format because frankly I felt it would be perceived as too lofty. That would have been the opposite of what I am trying to achieve. I want to keep The Theatre Project accessible, and as a young company, I believe that is what makes us relatable.

I can't help but imagine that the characters in Bitch all have ridden this train before. The play is set in my town, which is not initially attracted me to the script, but certainly made me consider it. As I look around I can see people who remind me of the characters. Real people on their grind—which is what makes the characters unique. It doesn't glorify or enlarge a situation. Bitch exposes real people doing what they have to, no matter how corrupt, in order to survive

August 15, 8:05 PM 

After I emerged from the Penn station subway stop, I met with Sean and we hopped back on a train heading towards the West Village. As we got off the Christopher Street/Sheridan Square stop, and walked over towards The Players Theatre, I felt a sense of gratitude in the fact that such a great playwright would be willing to place such faith in my hands. We went over to one of the best coffee shops in the area, Pubblico Espresso, a favorite haunt of mine.

Pubblico is right across the street from the theatre and delicious. Over iced coffee we discussed marketing, scenic design, and most importantly—the show itself. After posing many questions on the script, I was thrilled to have been able to pick up on and relate to aspects of the script that may lie more dormant in the dialogue. Facets of the plot that are there, but not spelled out. It's refreshing to know you are on the right track, especially with such a contemporary work. After coffee and small talk, we went to the theatre and I conducted my interview with Sean. We filmed at the Players Theatre which I felt was appropriate since it will shortly become a "home base" for The Theatre Project. It was a noisy day on MacDougal Street and the noise of the day served as the underscore to our interview, which went extremely well and was an eye-opening experience. By learning more about the playwright, I have learned more about the script itself. I highly recommend doing something like this, be it in person or through email in order to fully understand a project you may delve into. It particularly helps if the playwright you are working with happens to be alive. I would not be able to have done the same with say, a Chekhov play. Unless, that is, you happen to be able to channel the dead.

I also was able to show Sean the space where Universal Monsters and Bitch will be staged. There was something exciting about standing in the theatre with Sean and talking about the show. Mostly it was inspiration, the rest was probably fear that he may say something along the lines of "Look at this shit hole," but he was actually pretty psyched!

Overall, it was a great day for me as a director, and a great day for Sean and I as artists, as we step further into this venture. I'll wrap it up there since this is a blog post and it's becoming a novella. I look forward to my next blog post as well as newer developments in the project.

- Christian Amato



The director's notebook is a blog Christian Amato started through theatre projected in 
order to allow people to see how a younger director approaches his work.