I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being. –Oscar Wilde

There are few more beautiful things in this world than experiencing pure creation and understanding. In building a scene, from the ground up, this is what we strive for. A play needs talented, fearless actors, brave enough to reach deep and bare their souls to the audience. Fostering a supportive and enthusiastic environment for the actors to be free is an enormous part of the rehearsal process.
All directors have their own particular style when it come to approaching any given script. David Lear, when examining The Shape of Things by Neil Labute, spent the first few rehearsals deeply delving into the psychology of each and every character. David is more of a facilitator, he directs by suggestion, letting the actors find what works and feels natural and true, while guiding them in a succinct direction that serves the play. Before and during working through each scene, David is relentlessly probing into the characters’ thoughts and mindsets by questioning the actors. Seeing when an actor has reached a sense of understanding.

Each of the actors must create a complex character, with a full and intricate history that shapes their actions, thoughts and feelings. The Shape of Things is peopled by a wonderful cast: Keith Baker, Jenifer Cote, Dana Scott and John Browning. It’s been a wonderful experience watching them grow into the characters. Each rehearsal I see some new shade to their characters, detailing and coloring in, developing these characters from words on a page into complete and full rounded human beings.
The script is a juicy, wordy creature that it is a living, breathing element in the room with us at all times. It seems that every night of rehearsal new discoveries are being made, new ironies uncovered and new parallels recognized. One of the many beauties of Lebute’s script is the comedic and harsh reflection of day to day interactions and societal norms. Throughout the rehearsal process, the script constantly begs to be discussed and compared to our own past experiences. On several occasions rehearsal is sidetracked by someone relating their own personal experiences to an event in the play. Love, heartbreak, betrayal, all is put out on the table and opened to discussion. This is a great script, for many reasons, but, for a large part, because it can be related to our lives and also, that it evokes thought and discussion. Every time I watch or read the script something new pops out and slaps me in the face. The play parallels life, art, and mirrors itself. Nothing is an accident. Everything for a reason, settings, word choice, references, everything.

The Picture of Dorian Gray by Oscar Wilde is referenced in the first scene; the parallels are beautifully subtle and instinctively recognizable. The ideology of transformation and issue of morality are large components in both The Shape of Things and Mr. Wilde’s wonderful book. The Picture of Dorian Gray and this play also contain a common central theme, they pose questions about art. Questions that we, in the theatre, must constantly be asking ourselves in order create the most honest and thought- provoking play we can. What is art? Why must art be created? What purpose does it serve? Is there a
price? What does it all mean? The truth is, I don’t know. I shouldn’t. I can only know what is true for me. I can believe and hope that I understand, but in the end it is all subjective. This is also true for you. We set the play, play the scenes and leave you to decide what was right or wrong. Who was the hero, and who was the villain? We can justify the means with the words and actions of our characters, but in the end, it is all for you to decide. This is what we want. This is our purpose. If we can allow you to think or feel, if only for a moment, we have succeeded. The Shape of Things is a play that relies on the audience’s subjectivity. What you feel… What you believe… What you want to believe. As we near our tech-week, the anticipation is growing, we can’t wait for an audience… We’re dying to know: What do you think?

Lauren Noelle Heney
Stage Manager, The Shape of Things

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