So I've been running Old Hickory every day. Not just for lines, but for as much of the blocking as I can remember. Timing-wise it's running between 35-41 minutes. I need to get it closer to a consistent 40 but that isn't my primary worry right now. I want all the characters to really sing and jump off the page. I think I'll get there, with Wallace's help.
Bette's advice regarding one of the most important lines in the play has paid off. The line began as a generic 'stupid' line delivered by the ex wife to our hero; then I made it a bit more caustic with a dig at his manhood . . . then, as we were talking about it, Bette mentioned that maybe insulting his family would be more to the point; that keyed into the grandmother, who he earlier said he thought highly of, so that's the direction I'm going in . . . she insults his beloved grandmother and that is definitely the last straw. I think it'll work if I can come up with the right line. I'm finessing it now and I want it to be such an insult that it leads inevitably to what it leads to.
I also went back to work on The Red Hand of O'Neill today. I went at it with a view for making it tighter; more of an emotional release than a recitation of James O'Neill's history. I think I am beginning to accomplish that. If the French accepts it for this summer, then Fran Callahan will do it and it should sail. I'm not saying I'll never do it myself, but for the time being I have enough on my plate and he was so enthusiastic for the piece I feel like he'll do it justice . . . and then some. That would really be nice . . . for him and for me. I like his work and feel like his initial connection to it, when he read it cold, was exceptional. Not sure when we find out about the plays accepted into the festival . . . but like everything else . . . it's hurry up and wait. Should know in the next couple of weeks about the NYFA grant and some competitions as well . . . heaven forbid anyone should make a quick decision about anything!!!!!
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