Precious Little asks its audience to fathom how many ways we can create relationships as human beings. With who and with what constitutes the legitimacy of an emotional and personal connection? When the lines between nature are blurred, we are left pondering the metaphysical feelings that sketch the lines which connect us all – be it man, or beast, or idea.
This gorgeous text by Madeleine George is remarkably not more well known. Her risks as an author are daring and admirable and inspired me to pitch this production to The Carriage House Players. George’s biting wit and enchanting sense of character denote themselves effectively to the construction of this truly special piece. Throughout the rehearsal process, the actors and I explored the creative bounds of how movement influenced the story – specifically in the way the transitions factored into forward momentum. The scoring to this piece is solely music of contemporary female folk artists and accompanies every transitional sequence. The scenic design, with a focus largely on a tree growing up and out of the theater plays a pivotal physical metaphor for the
I feel like I lost my objective eye through the rehearsal process of this piece. I allowed my opinions on motherhood and on relationships and on sexuality to cloud the professionalism I strive for as an artist. I’d often find certain sentiments would hit me square in the soul during rehearsals due to the open dialogue format we sustained as a creative group. The conversation would veer to why this text affected us all – as women, as humanitarians, and as people searching for connection, and we all would need “a moment”. My actors were kind and understanding. They guided me through what selfishly felt like a text written for that very moment in my life and I’m tremendously grateful for their dedication and their beautiful artistry.
This gorgeous text by Madeleine George is remarkably not more well known. Her risks as an author are daring and admirable and inspired me to pitch this production to The Carriage House Players. George’s biting wit and enchanting sense of character denote themselves effectively to the construction of this truly special piece. Throughout the rehearsal process, the actors and I explored the creative bounds of how movement influenced the story – specifically in the way the transitions factored into forward momentum. The scoring to this piece is solely music of contemporary female folk artists and accompanies every transitional sequence. The scenic design, with a focus largely on a tree growing up and out of the theater plays a pivotal physical metaphor for the
I feel like I lost my objective eye through the rehearsal process of this piece. I allowed my opinions on motherhood and on relationships and on sexuality to cloud the professionalism I strive for as an artist. I’d often find certain sentiments would hit me square in the soul during rehearsals due to the open dialogue format we sustained as a creative group. The conversation would veer to why this text affected us all – as women, as humanitarians, and as people searching for connection, and we all would need “a moment”. My actors were kind and understanding. They guided me through what selfishly felt like a text written for that very moment in my life and I’m tremendously grateful for their dedication and their beautiful artistry.