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TAPE. Scheduling became a major impediment and we decided it wouldn't work.
(in English) but it was getting very late in the fall before I realized that the perfect
choice for Nagg had been practically standing next to me all summer. Barney
O'Hanlon of the SITI company was the forest I didn't see for the trees. To my great
pleasure he agreed to do it. Both Akiko and Barney have extensive dance
backgrounds and are very gifted physical performers. Putting two trained dancers in
the most physically constrained roles was an important part of the casting of Nagg
and Nell. It was clear that the less movement was possible, the more refined the
movement would have to be. In Akiko and Barney I knew I had performers who
would polish these cameos to a bright shine.
of my directing chair. These were artists who I could not drop my guard around. I
was both intimidated and stimulated by the atmosphere that was created. I knew
that I would have to keep my spine straight and my brain, spirit and eyes open.
We had worked together at Columbia and wanted to do more. He saw the same sort
of existential significance in Beckett that I did so there was a shared sense of
David Gordon to design the lighting.
class at New York University. I knew that she was an unconventional thinker with
tastes that I trusted despite their being different from my own. Although irrelevant
to my desire to work with her, Penny being English also satisfied my desire for an