For me, all performance needs to reside somewhere in our collective subconscious. Something about the show needs to strike a chord in a way that makes the audience think, “I know this room. I’ve been here before and I’ve never left because I haven’t figured how.” Plays should start by reframing, polishing, and seducing us from the opening moments because it’s going to get hot by the final curtain.
In recent years I have embraced a type of musicality in everything I direct. Our popular culture is built around vernacular music, whether we realize it or not. And therefore our most personal moments have been shaped by our music. This is where we lock ourselves behind the doors to cry over a loss. Or scream together in the streets in protest. Or even where we cross cultural boundaries. And no matter what I get from studying a script, it isn’t until I can feel the rhythms, hear the musical landscape that I “see” the show as it is intended.