I just had lunch with Mr. Bernard Cuffling (right) who has just returned from the peace of Chemainus with Bernard Shaw. We met to discuss the definition of what ‘shadowing’ him and his co-director Anna Hagan consists of, as well as the whole approach to take with Long Day’s Journey Into Night’s development. In the end, it looks like I will be more involved than I expected to be.
He seems determined to use me as truly an Assistant Director, as he sees not much different than being a shadow during rehearsals proper — the difference is when either the actors aren’t there (break, or afterwards) or he wants to work with ‘Mom & Dad’, and needs the two sons to work together on some other scene. That’s where I come in: feedback, suggestions, slipping a note to him during a run, running lines/scenes, etc. he also wants to get suggestions from me for sound/lighting to make things work the way he wants for his “look for the show, if I have one… I don’t know…”
The way he presented it was so soft — he started as saying that no actor “being the way they are” (he and I are not actors? Hmm…) will only take direction from a Director, so he doesn’t expect me to toss in notes during the rehearsals, but I make a note or two and give it to him afterwards, or maybe during the break he might ask for suggestions… Then by the time he starts Dial ‘M’ For Murder, he says, Ms. Hagan will know the lay of the land (“And she’s new to directing too, you know!” Right…! Even if that was true — which it isn’t — having acted for 30 years or more under Richard Monette, Peter Brook, and Robin Phillips teaches you nothing!) and she will do the same with me as he did, because I will have a shared experience of the rehearsals with her, so I can remind her of details she might let slip. In addition, if Dorothy Dittrich (author of When We Are Singing, and a tonne of other musical endeavours) cannot help with soundscape, maybe I might be able to help (‘American music… maybe start with Stravinsky, though… shifting to cello works…’ I suggest maybe Yo Yo Ma playing Aaron Copeland that a friend gave me a few years ago… “Perfect! You see; that wasn’t hard, was it?”), as well as the light shifting from bright white sun to darker through the show… Because he will not have time, you see…
Does it hit me then? No! It all sounds so easy! I find myself thinking nothing of it!
When I get back to the office – and after telling him that ‘sure I’m fine with all that…!’ — I come to the realisation that I have agreed to be responsible for the position of being a true Assistant Director/Designer to theatre veterans Bernard Cuffling and Anna Hagan, for the biggest piece of American Theatre ever.
Augh! ‘Careful what you wish for…’?
Ian Alexander Martin [
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