The request to write about the play and the process comes at a very interesting time. For, as much as I believe when you approach directing a play you should have a point of view, I also really enjoy the point where we are now. I am referring to what I like to call "wandering around in the play." I like to put a play on its feet really quickly.
My inspiration for the architecture of the blocking and staging is first and foremost the story. Along with that I like to weave in movement and shape that reflects themes and struggles brought up by that story. This charting it out allows us to be where we are ---that "wandering around" thing I mentioned above. This is a time when you've had a chance to watch it up in front of you, you return to reading it again and again, whole sometimes, in pieces at others, and you are inching your way back through it in rehearsals with the actors.
Their collaboration helps to further illuminate the play. It is this time that you begin to see, as is so often the case with brilliant writing, that it is about so much more than you initially thought. This play and its process are no exception. With its lack of stage directions and props and its sharp focus on language it is proving fascinating. I think it is the continuation of "aha" moments well into rehearsal that might be one of my favorite things about directing.
So, this one is continuing to unfold itself to us. I think this just provides us with more we can offer the audience to consider because, in the end, what they take from it is through their own perception. But, I believe the more thoroughly we have done our jobs in presenting the play there is plenty for them to "chew on."