Fringe Festival 2017!

(V onnegu t f r om page F1 4)
hen finally got the play it didn’t feel
like a full-length script but it reads like
one. It’s only twenty-nine pages long.
It’s top of the page to the bottom of
the page, from one side to the other. It
looked like a one-act. I asked Stuart why
was it formatted like that.
“We were just trying to save paper.”
How are you pulling it all together?
I’m biting my nails to the quick. I’m
doing everything in my power to make
sure the play makes narrative sense so
that the audience will stay with it. I tend
to think audiences are very smart. But
it’s still important to make something
like this accessible.
This is a book and we’re putting on a
play. They are two different animals.
I keep saying to the cast too, all the
answers that we need are in this book.
There’s some good research in here if
you’re wondering why your character
does x, y or z.
Many things have to come together.
We’re dealing with puppets, special
costumes, projections, a moving set and
difficult transitions. e’ve come up with
some brilliant solutions, though. And
whenever I direct a play, we have one
rehearsal where it’s nothing but scene
changes so that we can keep the story
moving. Nothing sucks the life out of an
audience like a scene change.
Stuart has done an amazing job in his
revision for our production. The Sirens
of Titan is distilled down to a playable
theatrical story but holds onto all the
heart. That’s what the audience is here
for. FL
F16
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