Inside FULL GALLOP: “What Is It Exactly, That You Do?”

“What is it, exactly, that you do?” That, or some variation, is the question I get asked the most. What does a director do? Every other job in the theater is easy to define.

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Inside FULL GALLOP: The Actor-Audience Relationship

“But when those lights come up and the music fades out it’s just me. And you, the audience. You are my scene partner. I have to feed you the right lines and hope you return the favor. I have to hope you are responsive and attentive. I have to confide in you and cajole you and a couple of times even insult you.”

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Inside FULL GALLOP: A Leap of Faith
In this 3-part series, PerformInk takes you inside Spinning Tree Theatre’s production of FULL GALLOP through blog posts written by the people behind the scenes. To read past “Inside” articles click here. By Andrew Grayman-Parkhurst The first question I’m often asked by patrons is, “How did you find this show?”... Read more
Inside PROJECT DAWN: A Dramaturg’s Approach

Perhaps it was the play’s seamless alignment with what I want to tackle artistically. Perhaps it was an awareness of my privilege and that of the playwright. Perhaps it was my long history in the nonprofit sector. Perhaps it was all of these reasons and others I don’t even know yet. What is clear to me, however, is that from the beginning, I felt the societal importance of this work.

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INSIDE SEA MARKS: Building a Two-Person World

Designer Gary Mosby takes us behind the scenes of the set design for KCAT’s SEA MARKS

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INSIDE SEA MARKS: Lessons from a Welsh Divorcee

The thing that’s resonated most with me is, after being married for 20 years, how important it is to have a relationship. One thing I’ve realized is that I don’t think about me, personally, being alone and how hard that can be. So that when you do find that companionship, especially one that seems to be working so well, you think how scary it would be to then have that possibly be taken away from you.

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Inside SEA MARKS: Interview with Director Jan Rogge

It’s a delicate thing. I have to know when to get in there and help them, and when to stay out of it.

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Inside STUPID FUCKING BIRD Part Two: That Lightbulb Moment

Now, like Connie, I’m usually the first to roll his eyes at attempts to make plays “accessible,” but I have to admit that Posner has done something magical with his play.

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Inside STUPID FUCKING BIRD Part One: An Actor Playing an Actor

To be honest, this play scares the hell out of me. That’s one of the reasons I said yes.

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Inside CASA VALENTINA Part Three: Co-Directing

What I didn’t know at the time, but came to realize, is that Michael was offering me an opportunity of a lifetime.

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