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The Artist’s Journey: Anthony Luciano – Week 4 - La Jolla Playhouse Blog

The Artist’s Journey: Anthony Luciano – Week 4

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Each week, The Artist’s Journey will provide an insider look at the creation of a production, from first rehearsal to opening night, through the eyes of one of the show’s key players.

Anthony Luciano is an M.F.A. Directing student in the UCSD graduate theatre program and is Assistant Director on A Midsummer Night’s Dream.

Anthony Luciano

Anthony Luciano

Wait, we go into tech this week? When did that happen?

We had our first run-through for the whole creative team this weekend and the play has grown immensely since our last look at the Whole Thing. We’ve polished out some of the rough spots, and the play is really beginning to emerge. This week we have our first rehearsal with the Quintet followed by our first cue-to-cue with the Orchestra! The walls are up, the floor has begun to be painted and slowly we’re beginning the lurch from our rehearsal room to the Big Bad Potiker. Despite the abso-super-bigness of the production, I am strangely unconcerned about tech. I know this has a great deal to do with the many super-capable hands involved (Chris Ashley and the creative team; our Stage Management team; Chris Borreson—who has been the most amazing Technical Director I’ve ever worked with—and the amazing shops), but I can’t help but wonder if I should be a little nervous, or wary of transferring the play into the theatre. Like, if something were to happen, this would be when it would, but I’m just totally not concerned. I’m actually looking forward to it!

Though, truth be told, I have a strange masochistic love of technicals. I like the long hours, the super strain, the eating bad food (donuts anyone?) and the seeing of all the stuff. I like entering into this new phase where we see if what was happening in the room actually makes sense on stage, and then moving around what does and does not. There is always the fear that the play will be somewhat lost once it transfers into the theatre: sometimes you build something beautiful and elegant in rehearsal and it is vapid and tiny in the theatre, but for this one I think we’ll really begin to see the play once we’re in the space. I’m betting there will be some restaging (we’re gonna learn a lot about the production once we see how our silks work on stage vs. in the rehearsal room) and maybe even some rethinking about some of the scenes (I have no idea which ones, or how—right now everything is playing pretty beautifully), but this is all part of the process. Unlike others where you sometimes have to fight to make the play fit in the theatre, I think this production will really begin to sing when we get into the Potiker. The next step is making sure we’re all in harmony.

Chris Reed had us all over to his house on July 4th for a cookout—I think the first all-company event outside of the Playhouse—and it was GREAT! Always good when a company starts hanging out before the play opens: usually a signal that the play is moving forward in the right way. And a company that likes to spend time together is a company that likes playing together. Sometimes the best work happens at the bar (or—as it turns out—at Chris’ place).


“I never heard so musical a discord, such sweet thunder.”