I’m often asked about the research and development process attached to any project – What goes on? What purpose does it serve? The answer differs from project to project, depending on where in the process the r&d may take place. Sometimes it is to scratch the surface and begin exploring possibilities around a concept, perhaps collaborating with a team of actors/devisers/co-creators. For my work in progress ‘Cosy’, an Unlimited commission, the polished first draft was already in existence, written between productions over the past few years. I wanted to ‘hear’ the text in the air and outside my head, to try out some new sections, put it before an invited audience to get feedback, and to then reflect on possible future revisions.
A director’s purpose and focus for research & development hadn’t really occurred to me before (oops!). In my experience as a playwright, my own needs have always been paramount, so I’m grateful that Phillip Zarrilli, director of ‘Cosy’ let me reproduce his report on our two days research & development last month here:
Just as the initial two days of research and development on ‘Cosy’ have been of great benefit to Kaite O’Reilly as the playwright, our process has been immensely beneficial to me as the director. Very early in our process (1-2 May 2015) we auditioned a wealth of disabled and non-disabled actresses. We then spent one and one-half days (June 17-18, 2015) working on the script in the rehearsal room in Cardiff, and had a reading of the script-in-hand for an invited audience at Graeae Theatre Company’s Studio in London.
My first task as director of ‘Cosy’ is to assist Kaite in developing the best script she can within the context of what appears to be a ‘family drama’. Throughout our process, including our two days of research and development, I have provided dramaturgical feedback to Kaite as she has been refining and further developing the nuances of the script for the reading.
My second task is to actualize as best I can the potential of Kaite’s script through my work as we select the best cast we can for the six wonderful roles Kaite has written, and to guide the actors’ as they work on the nuances and complexities of Kaite’s script. ‘Cosy’ has a cast of six women including Rose (76 year old matriarch of the family); her three daughters—Ed (56), Camille (early 50s), and Gloria (late 40s); her granddaughter (Camille’s daughter, Isabella, 16); and Rose’s ‘friend’—Maureen. For the two day R & D period, we cast the core ‘family’ with five Welsh actresses: Rose [Sharon Morgan], Ed [Ri Richards], Camille [Ruth Lloyd], Gloria [Llinos Daniel], Isabella [Bethan Rose-Young]) who created a wonderfully dynamic and complex family at the reading. Finally, we cast Welsh actress, Sara Beer, as the quirky ‘companion/friend-to-Rose/outsider-to-the-family’.
Our first day of R & D began with a simple reading of the script so that Kaite could hear and respond to her first draft. After this initial reading we had an extensive discussion of the script, allowing actors to raise questions about their roles, and discussing some of the unique demands the script has for actors—the juxtaposition of the comedic element arising from the family dynamics once the female clan has gathered at the family home with the existential impact of how an aging woman faced the ‘facts’ of her aging and the loss of agency that confronts women as they age.
Having directed the premiere productions of two of Kaite’s other plays, ‘The Almond and the Seahorse’ (Sherman Cymru, 2008), and ‘the 9 Fridas’ (Taipei Arts Festival with Mobius Strip and Hong Kong Rep, 2014), I know how difficult a task it is to guide actors toward the kind of nuanced playing of the types of characters that Kaite and the complexities of the situations in which she places her characters.
The cast of The 9 Fridas. Photo: Phillip Zarrilli
Our remaining session on the first day of development, and final session in London prior to the reading of ‘Cosy’ were devoted to (1) trying out new text Kaite was writing in response to the initial reading and our work on the script; (2) having ‘working’ rehearsals on each of the five scenes in order to begin to explore the nuances of each scene; and (3) providing directorial feedback to each actor on the playing of specific/key moments in each scene.
From my directorial perspective, it was a ‘luxury’ to have these days to work with this potential cast of six. In our day and a half of development work with the cast collectively provided our audience with a highly credible initial reading of Kaite O’Reilly’s second draft.
These two days together have allowed me to get to know each of these actresses as individual professionals, as well as how they might work together on Kaite O’Reilly’s dynamic and highly complex script.