Today we rehearsed Scenes 3, 4, and 6.

(As a reminder, there are no “Acts.” There are 11 total scenes in the play. It’s a little over 60 pages long.)

The actors are fumbling with their scripts, of course, but we found some truthful moments, some blocking that stuck, and some key tenants to the relationships that can stand firm to build upon.

Some great wins: to denote a car at the beginning, John will be on his back like he is working on his car from underneath. It’s so small, but it immediately conveys that he’s working on a car. Boom. Also, who needs glasses or cups at campsites? Today I was overruled in thinking that Suzan would have either to share a drink with a stranger. Share the bottle, baby, share the bottle.

We still need to work on: the first “date” between John and Madeleine, Scene 4. It’s a mix of Madeleine’s slightly aggressive/NY energy and John’s awkward/stilted energy. If it goes too far that way, it’s not believable that they were attracted to each other in the first place, and definitely not believable that they meet again at Mad’s place to potentially go further (hook up). I had them try it one way of being extra flirty… which, of course, doesn’t match all the dialogue or the truth of the scene (because it’s nuanced), but it helped us find moments of lightness and connection that bring that believability in. The more we do it, the more we will find the right mix of the two versions and the right shifts in tone.

Scene 6 between Suzan and John might be my new favorite scene. It’s a moment of surprises, sweetness, tenderness, hope. It’s Suzan’s real chance at a new life, even of love again. It’s John’s moment of feeling safe and understood. It’s fleeting, all of it. And maybe I’m giving it too much weight; but for both of these characters, we see them with their guard down. Suzan breaks down and we finally see her struggling with this new job, in pain, and frustrated - in tears. We see John offering help - a handkerchief, a seat in his warm car, sweet compliments - his guard is down. For a moment, we can see what could become of these characters in a different world or version of this play.

I found it difficult to sit in my chair the whole time - like directing my sketch comedy, I like being up on my feet and able to jump up there with the actors, move things if I have to, and I feel more connected to it/able to focus when I’m standing (maybe I should try this at my office job?).

On the whole, we had thoughtful discussions, we made jokes, an on-stage kiss went off without a hitch (we started on the cheek), and we explored these characters and their world together. Again, I say: what a great group.