Part IV: Lana Russell

Lana Rosalind Russell

Hometown: San Rafael, CA

Current Town: Williamsburg Brooklyn

Tell me about Vigils:

Vigils is an insane play. And I feel like I’m a bit insane for loving it so much and for directing it. In its most basic explanation the play is about a woman (a young widow) who lost her fire fighter husband two years ago and is unable to move on with her life. The play structurally mirrors the way memories “come in no particular order”. There are strings of memories that actually happened, memories the characters try to change, happy times, sad times, and explorations of what they wish they would’ve done differently. This woman has kept her husband’s soul in a box in her home and his body in a picture frame. Without them, she fears she will die. We explore the ups and downs of their relationship, their love, losses and secrets kept from each other. Can she find a way out? Can she can choose to let go and find her way into the future?

The play is quirky. It is relentless, meta-theatrical, heartbreaking and goofy all at the same time (if we are doing our job right). For some in this play there is freedom and for others there are memories. For her freedom is a field of marigolds but for you and I it could be something totally different. I love thinking about this.

Tell me about your process and concept of this show.

This could be a very long winded answer…

As one does when they begin working on a play, there is an intended process and then the actual process that follows. As the play says “it began so simply”. There was a lot of emotional connection needed for this play and unique physicality. So we did not do normal table work. I didn’t feel sitting at a table as one usually does in the first week would benefit the creativity and exploration needed for Vigils. We used a process I have been taught “analysis through action” which is a Russian style of acting exploration that is about action before text. You still do all of your own textual work outside of the rehearsal room but in the room it is about impulses, extreme physicality and making choices to astonish one another. We explored through a process of etudes which are sometimes silent, sometimes using one word, sometimes the actors own words and then eventually some text. We were definitely the crazy rehearsal room for a while that was relentlessly screaming and banging looking for lost babies and ways out of a fire. An etude exploration we did early on that had me in tears for an hour is what ended up becoming our silent pre show.

I think for me, one of the most important things in this process became trying to find a common vocabulary for expressing major emotions and experiences like grief and loss with my actors because this can be different for each individual. I wanted this expression to be something that was truthful for the actors in heart and soul rather than just something that felt like only my idea. I love collaboration and creating with the group and exploring new ways to do that.

Before rehearsals begin there was a very detailed design process. This play has so much room to create- there is flying, fields of flowers, fires, just to name a few and how do we use our resources to create something theatrical? You wouldn’t believe how many conversations were had about the meaning of marigolds and how they would function on stage. I am sure the production office never wants to see another marigold as long as they live. Tech was insane and amazing to see the entire world come together.

My concept and goal was to tell a story that challenged imaginations. I am always thrilled by the intersection of life, death and dreams. The stage is for possibility and I want to push myself to see what could be possible in this play.

We had many challenges in this process, which resulted in me at one time training two last minute understudies. Flexibility was the name of the game. There were many times I genuinely feared the play would not even happen based on obstacles out of anyone's control but I relentlessly refused to let the play go down. This play was going to happen even if I stood on stage with a script.

What else are you currently busy with?

Besides all of the homework I have overlooked since directing VIGILS, I am about to start directing Alex Kveton (3rd year MFA playwright in my class) thesis play that will go up in March. I think I am about to read a draft of the script tomorrow so I am very excited about that. Over the holiday break I plan on jumping back into my shakespeare adaptation of Henry VI Part 3 that I started working on last year. It is my hope to make it longer with adding more of the Henry VI series and the text of Richard III. I would love to start forming a Shakespeare troupe of actors I can collaborate with and who feel passionately about reinventing Shakespeare in the way that I do. I feel like we began to explore the idea of what a history play could look and feel like and I would like to take that ever further.

I am also a teacher with The Other Side, which is an initiative to create a global drama exchange through young women. It is one of the most rewarding experiences and my girls are learning to empower their voices and ideas as bright and impassioned young women through artistic expression. More info here: http://www.theothersidenyc.org/about-us

Lastly, Goldfish Memory Productions, who I direct and produce with is in the works of fundraising and choosing a season, so my eyes have been peeled for new and interesting plays for that - post my school work. http://www.goldfishmemoryproductions.nyc/about-us

Tell me, if you will, a story from your childhood that explains who you are as a Director and/or as a person.

I was an incredibly shy child. We had a preschool graduation and I made my “boyfriend” go up and get my diploma while I hid my face in our mini cap and gown. I cried when I was called on in first grade to answer a question. But behind the scenes I was directing my mom in many one-woman shows of every Disney movie. The perfect “Lana” moment I would say is when I was playing Sleeping Beauty in summer stock and outside of the show I had been crying in the bathroom because I was shy and a bully made fun of me and the boy I liked didn't like me and I didn’t know how to stand up for myself. Yet an hour later, I got on stage and totally off key belted my song out while simultaneously directing my prince charming to “be louder” and “make a stronger choice” while on stage with him. I don’t always know how to find my voice in the outside world, but in the theater I always have and always will.

If you could change one thing about theater, what would it be?

How little this country pays and supports its artists. Theater artists are some of the most dedicated, hardworking, inspiring people I have ever met and we sacrifice so much, and yet the lack of particularly financial respect and compensation is tragic. We should be able to afford to live, have families and stability and keep making impactful art.

Who are or were your theatrical Heroes?

Tennessee WIlliams, Shakespeare, Jose Rivera, Octavio Solis, Sarah Ruhl, Aeschylus, Lin Manuel Miranda, Branden Jacobs Jenkins, to name some playwrights. Directors: Bill Rauch, Anne Kauffman, Tina Landau, Evan Cabnet, Daniella Topol, Eric Tucker, Ivo Van Hove, Katie Mitchell, Sarah Benson for directors.

What kind of theater excites you?

Anything made by anyone listed above. Theater that challenges the way we see, the way we think, the way we feel. Theater that reaches out and brings communities together and reaches its message beyond the stage. Theater that makes us look at truths we don’t feel comfortable addressing. Theater that tells the untold story, or tells a known story with a new vision. An Octoroon by Branden Jacobs Jenkins, directed by Sarah Benson is a piece that for me, encompasses everything I love about the theater I want to make and see.

What advice do you have for Directors just starting out?

It sounds weird but ask yourself questions. Understand who you are, learn about what you love, what excites you, how your voice is unique, what you care about saying, the stories you would sacrifice anything to make sure are told, where your heart is in all of this. You can get sidetracked really easily if you aren't sure in this and waste a lot of time and money and emotional energy in places that don't serve your art. It sounds corny but know thyself. And then get ready to work harder than you ever thought possible. Also, be kind. Even when it is hard, be kind.

Anything else you’d like to add?

I don’t think so? Let me know if I forgot anything. This play has turned my mind into temporary mush.

Shout out to the designers and stage crew.

Thanks to all my designers, Julian Evans, Shelly Rodriguez, Chris Carter, Brittany Vasta and Grier Coleman and the stage management team of Dale Smallwood and Nicole Marconi. And our production manager Dave Chontos.

Plugs, please:

A: Goldfish Memory Productions http://www.goldfishmemoryproductions.nyc/about-us The Other Side http://www.theothersidenyc.org/about-us Me: http://www.lanarrussell.com

*Check back up on us at the New School’s New Voices Festival in March for Alex and I’s production of PREPPED.