So last night, Bill Rauch, Adrienne Gleeson, Kristen Robinson, and Sarajane Alverson did the reading of Passion. (I've changed the font for this posting to verdana, because that's what the script is in.) I popped in occassionally with the reading of the projections, stage directions and musical moments. It was wonderful to hear the language (kind of formal, see previous post) and see the movement (in my head) and find out where the holes were (there weren't many, thank goodness!)
We breezed through the scourging and the crucifixion - not a lot of talking! But those scenes in particular, made me consider just what the sound design should be. In the theatre, you can only listen to the mob for so long before you file it away as annoying background noise and it loses it's punch.
Obviously, there is not a lot of humor in the show. It will take a concentrated effort to find moments of lightness, given the ongoing tragedy. And I don't mean moments of "ha ha, funny stuff" just times when there are conversations taking place, times where the audience can take a breath and regain their equilibrium. It's an exhausting story to tell and an equally exhausting story to watch.
After the reading, the actors gave me feedback regarding text, and context. One of the things I really wanted to include in this story, which is NOT in any of the gospels, is Judas' torment at what he's done. The gospels state very simply that Judas was consumed by Satan and took his own life. I've had issues with Judas for a while but have made the artistic decision that he needs to tell us and show us what he's feeling, which I think creates a touchstone for the audience. Who hasn't been tortured over a poor decision we made? Thankfully, in discussions with dramaturg Dianna Thomas last year, I came to the decision that Judas wasn't just a pawn in the game. He exercised his free will and committed the betrayal. Otherwise, wouldn't we be celebrating him as a saint who did his part in moving along the events that would kill Jesus and then have him rise? Like Jesus, who questions his Father in the garden, Judas could have chosen NOT to take part, NOT to take the money from the Sanhedrin. And he was so tormented, he couldn't even ask for forgiveness, because it would have been given to him if he'd asked. Instead, he acted on his free will again, and took his own life. As Kristen read Judas' monologue last night and knowing that it is against the background of Jesus' scourging, I heard how selfish he was, and that he didn't fully believe in the mercy of God. He wasn't all in,but held a piece of himself back and that sealed his doom. For those wondering just how Judas is saying all this in keeping with my "no created dialogue" rule, most of his lines come from Job (who also had a rather volatile relationship with God) and from Lamentations (woe is me stuff).
Much of the text in the gospels is circular. And repetitive. And repetitive. It's kind of the Department of Redundancy Department. The gospel stories were told in an oral tradition for centuries and the storytellers knew that for something to sink in, they needed to say it more that once. No where is this more evident than in the Last Supper. I have made the Last Supper purposely long because I figure it will take quite a while to wash the feet of 12 people. In my church's Holy Thursday service (the washing of the feet), 12 chairs are lined up and we don't really even get to see the washing because the priest is in front of them and we only see his back. In Passion, Jesus calls each disciple up one at a time and we get to see the personal interaction. We actually did feet washing a couple months ago at SATE training and it was a very eye opening experience. Everyone washed and got washed. It is a humbling experience on both sides - intimate yet bold, loving, and nurturing. It makes you really consider who is the servant. Anyhoo, that scene, taken mostly from John's gospel because apparently, Jesus was really chatty at the Last Supper, is what covers most of the time spent washing feet. And even with all the text, I still want there to be moments of silence where only the sounds of the water can be heard. So that scene may receive substantial chopping in the end, cutting out much of the circular talk and that would be fine.
So I have some adjustments to make. And I still have to find a dern Hallelujah that is joyous and upbeat. Oh. And a venue.
We breezed through the scourging and the crucifixion - not a lot of talking! But those scenes in particular, made me consider just what the sound design should be. In the theatre, you can only listen to the mob for so long before you file it away as annoying background noise and it loses it's punch.
Obviously, there is not a lot of humor in the show. It will take a concentrated effort to find moments of lightness, given the ongoing tragedy. And I don't mean moments of "ha ha, funny stuff" just times when there are conversations taking place, times where the audience can take a breath and regain their equilibrium. It's an exhausting story to tell and an equally exhausting story to watch.
After the reading, the actors gave me feedback regarding text, and context. One of the things I really wanted to include in this story, which is NOT in any of the gospels, is Judas' torment at what he's done. The gospels state very simply that Judas was consumed by Satan and took his own life. I've had issues with Judas for a while but have made the artistic decision that he needs to tell us and show us what he's feeling, which I think creates a touchstone for the audience. Who hasn't been tortured over a poor decision we made? Thankfully, in discussions with dramaturg Dianna Thomas last year, I came to the decision that Judas wasn't just a pawn in the game. He exercised his free will and committed the betrayal. Otherwise, wouldn't we be celebrating him as a saint who did his part in moving along the events that would kill Jesus and then have him rise? Like Jesus, who questions his Father in the garden, Judas could have chosen NOT to take part, NOT to take the money from the Sanhedrin. And he was so tormented, he couldn't even ask for forgiveness, because it would have been given to him if he'd asked. Instead, he acted on his free will again, and took his own life. As Kristen read Judas' monologue last night and knowing that it is against the background of Jesus' scourging, I heard how selfish he was, and that he didn't fully believe in the mercy of God. He wasn't all in,but held a piece of himself back and that sealed his doom. For those wondering just how Judas is saying all this in keeping with my "no created dialogue" rule, most of his lines come from Job (who also had a rather volatile relationship with God) and from Lamentations (woe is me stuff).
Much of the text in the gospels is circular. And repetitive. And repetitive. It's kind of the Department of Redundancy Department. The gospel stories were told in an oral tradition for centuries and the storytellers knew that for something to sink in, they needed to say it more that once. No where is this more evident than in the Last Supper. I have made the Last Supper purposely long because I figure it will take quite a while to wash the feet of 12 people. In my church's Holy Thursday service (the washing of the feet), 12 chairs are lined up and we don't really even get to see the washing because the priest is in front of them and we only see his back. In Passion, Jesus calls each disciple up one at a time and we get to see the personal interaction. We actually did feet washing a couple months ago at SATE training and it was a very eye opening experience. Everyone washed and got washed. It is a humbling experience on both sides - intimate yet bold, loving, and nurturing. It makes you really consider who is the servant. Anyhoo, that scene, taken mostly from John's gospel because apparently, Jesus was really chatty at the Last Supper, is what covers most of the time spent washing feet. And even with all the text, I still want there to be moments of silence where only the sounds of the water can be heard. So that scene may receive substantial chopping in the end, cutting out much of the circular talk and that would be fine.
So I have some adjustments to make. And I still have to find a dern Hallelujah that is joyous and upbeat. Oh. And a venue.
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