Editing Helen

Megan surrounded by just a fraction of the text-in-progress for The Helen Project.

It’s been a while since I last gushed about the sublime insanity of collaborating with Megan Cohen on The Helen Project. We’ve been pretty busy gearing up for our developmental workshop at DIVAfest this May. In the last couple of months, we’ve revised our notion of who/when our five Helens are, tried out a few different approaches to performance styles with some delightfully adventurous women in an Actor Laboratory Day, had some epic meetings with our fabulous dramaturg Maura Halloran, thrown out entire sections of text that won’t fit in this iteration of the piece (with a greater sympathy for others who have tried to tame this unwieldy story before us – and with every intention of coming back to that mess of complexity in the post-workshop editing phase), cast five superb actors Misti Rae Boettiger, Sarah Moser, Ariane Owens, Roneet Aliza Rahamim, and Lily Yang, found a wonderful stage manager Julianne Fawsitt, scheduled rehearsals, taken some press photos at the Palace of Fine Arts between rain drops… and we’ve drunk a lot of tea. Tea is essential to our process.

Any one of those things could be an entire blog post. But in the interest of writing a current update ever again, that glossy summary is all you get. You can find more info on the Helen page of the DIVAfest website.

This photo is from a two-day intensive in the middle of February. Megan and I spent the entire weekend laying out more than a hundred fragments of text, one Helen at a time, putting 2-3 pieces together (and sometimes 8) into one larger piece that would be trimmed and reworked into something a larger. The goal was to reduce the number of movable parts in the Build-Your-Own-Helen Play Kit – and also to get the repetition of ideas under control. And also to remember what the hell we’d written over the last three years. Three years, you guys.

From there, we divvied up pieces that each of us would edit, and put those in the hands of actors for a few hours at our Laboratory Day. In three groups, we tried out different staging ideas, different rules of Helen’s world: can she hear the other Helens? Is she truly alone and isolated? Can each version of Helen only hear the Helens in her past? We learned a lot about our text, how long we want to listen to one person talking, how each Helen’s voice and perspective is different, and how The Face might start to fit into this world. Very special thanks to everyone who loaned us their brains and hearts that day:  El Beh, Misti Rae Boettiger, Kirsten Broadbear, Fontana Butterfield, Siobhan Marie Doherty, Maura Halloran, Allene Hebert, Heather Kellog, Luna Malbroux, Rami Margon, Ariane Owens, Annie Paladino, Roneet Aliza Rahamim, and Lily Yang.

Following the Laboratory, we’ve had some incredible dramaturgical meetings, rethinking the entire editing process (you take Helen 3 and 4, I’ll take Helen 2 and 5, see you in a couple of weeks), and taking a stab at building a trial edition of the Play Kit with post-it notes on Maura’s living room wall. (Frequent readers: I bet you could make up a drinking game with this blog and how many times I mention post-it notes. Enough times to give them their own tag, but that would make the game too easy.)

And now, with less than a month before we start rehearsals, what’s next? Burning through the rest of the editing, putting together a grab bag of found text fragments for The Face, hypothesizing some rules for the Kit, and building the First Edition of the text for the May 10 & 11 performances. Plus, starting this weekend, bouncing over to something completely different for a week: an experiment in how to make live theatre online via Google+ Hangout with local collaborators and an ensemble in New York City. Because why would I try out ridiculously complicated new ways of making a play just one at a time?