Change does not happen in a vacuum; context is everything. I think I have a good memory. I do not. When first asked to write these Notes I started diving into all sorts of reminiscences that seemed to associate with this play. Off the top of my head, I had to admit that I was only threading with fiction.. Luckily, I keep a journal –and have been doing so since I was 13 years old. I went to one particular well stacked pile of books, took up the top Journal and opened it –only to be struck at the fact that the book’s first page was titled “America Rex”..
Just sharing something I was pointed to this morning, though posted in April 2018.. -
This is a TED Talk engagement of thought/thinking.. part of a threading of ideals, for dialogue.. -And in this, we must not forget Joe Papp.. - who I was able to interview, for a high school project, such a long journey ago..
Oskar Eustis speaks as Artistic Director of New York's Public Theatre.. the 'House that Joe Papp built'..!
..it is hard to explain what it is to hand over a piece of work, that has -up till now- not been fully seen standing ..and has waited, years -for the chance.. Only to find that the wait had timing.. and the hands it has been received by, are giving it all kinds of dimension I'd only dreamed possible.. This is part of an exchange I had from Dione Joseph the other day, as we caught up on her reflections of the process to rehearsing REX: 20TH JUNE 2018 Dione: "I have something for you to read on my vision.
..memory not being what it used to be – I looked up the details on the period of creating Rex. On the front pg of v1 of the script is: begun 15.8.02 finished 26.7.03 _________ My time in London had pushed me ahead of general conversations to be found onstage elsewhere. Returned to the US, the realization was that my theatre voice was not at all in synch with what then was American theatre culture.
Some thoughts on Rex for Auckland.. Part I/28thMay 2018 ..in expressing the intention to create a FB group pg for this upcoming iteration ofAmerica Rex, Dione asked me to feel free to offer some introductory thoughts. Developing my writing skills happened in London, across the heights of the 1990’s. I was immersed in a world of theatre that was itself mutating under peerless quantity of permissions that came from living in a moment of Harold Pinter, Sarah Kane, David Hare, and even Mark Ravenhill.