Testimonials

I only wish every director could be presented with the experience I had.  I thank you from the bottom of my heart for the huge leap I have taken in my personal artistic development because of this experience.

My fellowship experience was nothing short of extraordinary. While there were, indeed, specific musical and arena-style directorial techniques I acquired in the course of the process too numerous to remark upon in this brief report, I truly believe the greatest value of the fellowship had everything to do with my interaction with Artistic Director, Molly Smith.

There is no criticism I could possibly make of the SDCF Observership Program.  It provided me with an unmatchable set of circumstances where I could not only witness a master (Susan Stroman) in the field I’m embarking upon, but also learn from a bevy of other aspects of the craft I did not foresee. My experience was, in short, life-changing.

Though I am no stranger to working on a new Broadway production from the very beginning of its creation, George (Wolfe) has an original formula and personal style that is all his alone.  Week one was spent entirely at the table reading the script!!  This was very alarming to me, but George seemed completely in charge and at ease.   As week two began, however, the payoff from all the reads and conversations was enormous.  The actors on their feet had such power of information in their beings that playing off each other and following George’s blocking instructions was simple.  A very new and insightful way of approaching material, one that I had never seen or experienced before.

Structured mentorship of this kind – working independently and with direct feedback – is the strongest way for me to hone my skills and continue to grow as an artist, and I couldn’t have designed or asked for a better opportunity than the one I had.  Working with Sharon (Ott) taught me several thousand more of the hundred thousand things you can only learn by doing.

This gave me the necessary reminder to keep pursuing the kind of work I value.  I was reminded that a passion for the impossible onstage and a love for virtuosic play can come together fruitfully to tell an engaging story in the form of a singular live event inclusive of its audience.

Watching Leigh (Silverman) work did many things for me:  it inspired me to be a better director, it validated certain aspects of my directing style that I might have questioned before, it taught me restraint, it taught me to be an amazing listener.  It gave me the encouragement I needed to forge ahead.

I learned from Sam Gold that what you don't say as a director can often be just as important as what you do say. I learned the value of not just identifying truth in an older text as it relates to us now, but the way in which we manifest that truth through the actor's understanding of their craft—simple but vital things like pace and hitting rhythms. All of this knowledge has enhanced my artistic growth, and improved my directing craft.