"It's supposed to be fun. That's why it's called a 'PLAY'."

     "It's supposed to be fun. That's why it's called a 'PLAY'." These wise words were spoken to me several times over the summer of 2014 while working on the Regional Premiere of Pasek and Paul's DOGFIGHT. The incredible Terry Martin practically made it his mantra as he would wrap up notes for the day. I've tried to take these words to heart as I've worked on other theatrical endeavors since that [freakin' amazing] summer. This weekend, especially, I was reminded what a useful tool we have in "play".
     I've worked on Les Mis plenty of times in my life. I've been in the show three times and this current escapade at the barricade finally has me wearing a new hat as I get to be one of the creative minds shaping the show rather than one of the tenors singing a partially monotone harmony in Red and Black. (#blessed) In order to shape the dynamic of our barricade boys, we invited them to stay late this past Friday for some character development. (Bro time.) We took an oath to not share what transpired that evening (Unless you're one of their parents. In which case, I'll give you a play by play of the entire evening. And pictures to prove it. Cuz I'd like to keep this job. :D) but it was competitive, messy, and awesome. The following day, it showed in their run-through. There was more camaraderie among the guys. They were more unified and their cause was clearer.
     It felt a little weird integrating such goofiness into one of the world's most cherished dramatic musicals. But, it was fun and it seemed to work so I didn't think much about it. The following evening I saw a production of Dogfight, the first one since I had worked on the show a year and a half earlier. Maybe I'm obtuse, but I never really put the jar-head-marines in Dogfight on the same level as the rebel students of Les Mis. But, I was reminded, watching six guys own those songs, and saddened because I freakin' miss the guys I got to share that story with. Because, we were brothers for those 8 weeks. And amidst the tense circumstances of that story, that show came with an overwhelming amount of play. From karaoke bars to steak-n-shake runs to GameCube in the green room; we played together on and off stage, in and out of the rehearsal room. It made cool things happen for us.
     Educational theatre doesn't always come with that time. An unruly deadline is met with the overprotective, though not altogether unreasonable, hand of leadership that keeps directors [teachers] and actors [students] a safe arm's length apart. I'll certainly be keeping my eyes open for more opportunities to maintain a sense of play in my rehearsal processes, be it with adults, teens, or kids.

NOTE: I'm frustrated I didn't even touch on play within a rehearsal room. Some of the best laughs come from working dramatic pieces. A good cry can be as healing and playful as a hearty laugh. Maybe I'll write a part 2. Or maybe I'll rehearse every play from here on out in a series of extended recesses. [Like, literal recesses. Like swings and monkey bars. Not that kids can have those anymore either. They might fall and have an authentic human experience.]