A couple of weekends ago I had the thrill of seeing Echo Theatre’s amazing production of my play Beyond the Yellow Wallpaper onstage in Dallas. It was a terrific production. The critics agreed:The Dallas Morning News called it “emotionally resonant” (read the review here) and Onstage NTX lauded it as “riveting” (more here)
It’s always a fraught experience to see productions of your own work. You’re bursting with pride, yet somewhat anxious — like watching your baby (now all grown up!) cross the graduation stage and venture out in the world. But as I was sitting there, watching, I was happily surprised by the actors’ embodiment of the world I had created. Not because I did not recognize it, but because I did!
Going into the performance, I felt fairly confident it would look familiar. Before and during the rehearsal process I had several calls with my excellent director, Caroline Hamilton, and Kateri Cale, Echo’s Managing and Artistic Director (who also played the role of Grace) to clarify some things, make a few moments clearer. They said they “got it.” But Playwright World is full of tales where that means “I hear you, but don’t think that is what your script really says. So I’ll make it better!”
The incredible cast and creative team at Echo did, in fact, get it. They made the world I saw in my head spring to life — not exactly as I imagined it (and who would really want that?). But better!
Communicating in general, and communicating through art in particular, is always a tricky thing. You never know exactly how someone is hearing what you say or interpreting what you write. Because you cannot be in their heads. You certainly don’t want to over-explain: that is death to art and kills a good speech.You need to rely on all your tools: images, metaphor, examples, stories. Prepare like never before. Shape it just right. And then trust those who pick up your message will understand, and shepherd it on its journey. Like launching your child into the world.