No, no, not in couples therapy. I know that would make for great drama, but not such a happy life for me so NO!
And, to be honest, I won’t really be replaced until 1/1/2012, but today it’s official: the new Artistic Director of Another Country Productions to take over in 2012 is Lyndsay Allyn Hicks. Here’s her FB page: http://www.facebook.com/lyndsay.allyn.
You have no idea how happy I am. Now I can be the actor-writer-acting teacher person that is ME. I’ll still be on the board, but in a very supporting role. Leadership is Lyndsay’s. Imagine cartwheels on this page!
Lyndsay directed me in ACP’s Boston Theatre Marathon play by Melinda Lopez this year and I fell in love with her then. I was already impressed by the three plays she’d directed in SLAMBoston, and by her acting in the slam and staged readings she’d done with us. She is super-collaborative, very funny, and her directing is so clean, her character work with actors so rich, her ability to find timing so amazing…and her values so in line with the original mission of Another Country, I count myself unbelievably lucky. She’s directing this weird expressionist piece I wrote this summer for the upcoming SLAMBoston, UNCENSORED. The piece is very centered on movement and constant transformations of reality, and has a distinctly Buddhist flair (now there’s a surprise). The lead is an 11 year old girl with more stage presence than God. I’ve only tried to explain the nature of existence in this 7 minute play, so it’s not in the least ambitious, but you should probably take a look at it anyhow. I have no idea how well it will fly, and that kind of creative risk is just so fun. I don’t mind falling on my face once in a while. For one thing, it makes the necessity of blogging about my faults so much less. And, the possibilities for hitting something out of this world only come when you lay everything on the line. So, there we are.
Everything changes. Especially in my life, as I look for the next adventure, which may be just acting, just writing, just teaching, just being in one moment at a time, but these particular moments of expression, of opening, of holding the door so one student after another can walk through.
Just to mention…today in the Full Training about half the class cried. They said they wanted to learn how. So, you know, I try to deliver.
But it was totally intense.
Metta for all açtors crying in Meisner classes. And for everybody else, not trying to learn to cry on demand.