The short and long term process

Eliot Bulsen

This show has been the longest creative process I’ve ever been a part of. Over two years, on and off (not including David’s initial research residency), and probably a little over six months of time in the room. Being able to sit with a show for this long is quite a new experience. Being able to sit with the ideas and science behind the show for that long has been incredibly valuable.

The length of time has let us consider decisions longer than we otherwise might be able to, and also investigate particular paths with little pressure to stick with them. Back in 2012 we made Bateman’s Vegas with the express purpose to try it and throw it away – doing that was exciting and freeing.

The flip side of this process, though, is that twice – two years ago and this week – we have packed a lot of rehearsal and show building into a very short period of time. We’ve got the show from a rough skeleton to a pretty polished (imho) scratch to show audiences. Both times I’ve been surprised at how quickly and efficiently we were able to work, and at the standard to which we got.

We’ve had several discussions about the future of this work, and the potential to be commissioned to recreate the show responding to specific systems. I’ve found our ability to shift so quickly from dense, broad ideas into a workable show very encouraging. It shows that we’re getting better at translating the ideas into a show, and that the process we’ve been building over the last two years is developing very well.

How do we best record or document the process we’ve created so we can continue developing and using it?

– Nathan


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