The World of the Play John Cameron Mitchell and Stephen Trask’s Hedwig and the Angry Inch takes place inside an (East) Broadway theater – the Belasco – on a stage otherwise occupied by the set of the recently opened-and-closed Hurt Locker: The Musical. The stage set is composed of the bombed-out husk of a vehicle on a ‘Middle Eastern’ street with parts of the car hang in mid-air as though a bomb were currently exploding.
As part of our response to Carson Kreitzer’s “Lasso of Truth” we made Cornell Boxes (Joseph Cornell, not the CGI render tests…) encapsulating and expressing our feelings about the play. As an actor, the process of understanding a play often begins and ends with text. Through scene work, movement exercises and various other rehearsal techniques, we attempt to internalize the text: turn words on a page into words which ring true when we speak.
The World of the Play The world of Carson Kreitzer’s “Lasso of Truth” is comprised of several distinct spaces in place and time, each with its own action and characters. The main spaces are: a. the workshop and home of the INVENTOR, WIFE and later AMAZON, which spans from the 1930s onward, b. a comic book store in the 90s, then restaurant, then apartment in which GIRL tries to purchase the first Wonder Woman comic from GUY, c.
In Peter Brooks’ “The Empty Space” and Elinor Fuchs’ “Visit to a Small Planet,” we hear an approach to theater which respects process above all else. For Brooks, this process happens in rehearsal through collaboration between director, actor, design. For Fuchs, this process happens through a careful approach of an unknown text – assuming nothing but what can be read on the page, we build a picture of a world in collaboration with the text.