Three Cheers for Pooh!

One actor out of the show with mono. Another out of commission for half the performances. A sound board operator fired on the first day of tech. A final performance in which the assistant director was playing one part and the assistant stage manager was playing another.

Who would've thought this would be the recipe for one of the most relaxing and fun processes I've had the pleasure to be a part of?

Coming off the intense and highly stressful process of directing "Romeo and Juliet" first rotation, I was intent on simply having fun while directing "Winnie-the-Pooh." We spent much of our early rehearsal time remembering what it meant to simply play: making up songs to sing while parading around the room; having conversations with our imaginary friends; discovering the many places our imaginations can go. The actors were completely game to go on a journey that often required them to go beyond their comfort zones. Thomas Murphy, the inestimable sound designer we were lucky enough to have working on the show, wrote delightful songs for the show which added such joy to the story (in addition to fulfilling my wish to direct a musical this summer). Joyce Bamman, the extraordinary costume designer, designed and built costumes that fulfilled every dream a kid could have about what Pooh and his friends might look like. Aimee Huber and Masha Tsimring, the exceptional set designer and luminous lighting designer, created a playground that turned Christopher Robin's bedroom to Hundred Acre Woods right before our eyes. Knowing that most of our audience would be children with their parents since schools were out and camps had yet to begin, we tried to create a show that celebrated the joy parents can give to their children through the power of storytelling, and I think we succeeded, all while having fun.

It's not easy in theatre to find experiences where the process is fun, the collaborators game, and the product a true realization of the original spark. I feel incredibly lucky to have had this experience. It was especially gratifying to watch the kids interact with the cast after every performance. It may sound corny, but knowing that we truly gave these kids a special moment was the icing on top of a very sweet cake.

It should be worth mentioning that even though I am raving about the experience, the hurdles mentioned above were indeed stressful. Being in an environment where there is constant creation also means occasional destruction. This summer is no doubt one of the most trying experiences I've been through - the highs are high, which means the lows are low, and the constant yo-yoing contributes to the exhaustion. We're just now getting over the hump that began third rotation - the energy was lower, spirits were lower, and in an effort to stop the rollercoaster of emotion, we all hit a point where we tried to remain as indifferent to everything as possible. Indifference and theatre simply don't go hand-in-hand and we're finally gaining back our passion and our inspiration. We've gained two exciting collaborators in the playwrights Matt Moses, whom I'm having the pleasure of working with on "Emperor of Ice Cream or Thirteen Ways of Looking at Donald Rumsfeld," and Chris Dimond, whom Kate is working with on "Burying Barbie." The actors are beginning their playwriting workshop tonight, and we're finally settling into the routine of third rotation (which involves shorter rehearsals spread over an extra week).

The other directors continue to be the greatest gift this summer has given me, and I can't wait till next rotation when I have the chance to produce and truly watch them work.

Until then, it's Donald Rumsfeld, the 24-hour-play festival, and another frantic tech process. Just cross your fingers that no more actors get sick!

Till next rotation,
Mikey