“I’m finding all new emotions
with this production,” he continued. “Emotions I haven’t worked
with in plays I’ve directed before
because this is so different. The
one thing I want to make sure
our cast constantly does is keep
the people in it. It’s easy to get
pulled aside when they’re fighting the plane or it won’t turn to
the left or the right, but I keep
hammering home the term they
use throughout the play, ‘All the
souls on board.’ This is real trag-
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edy here. These are real lives
and real people. And I don’t
want to lose that when telling
the story. I want the audience to
walk out the way I did and start
thinking about the play an hour
or two later and say to themselves, ‘Wait a minute… these
were real people. They weren’t
made up from a playwright.’
When you start thinking about
all these poor people, it really
hits home.”
In a bit of fortuitous casting, the
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