Signature Stories Issue 12 | Page 10

The Painted Rocks at Revolver Creek reunites designers Christopher H. Barreca (Scenic), Susan Hilferty (Costume), and Stephen Strawbridge (Lighting), who collaborated on Signature’s productions of Athol Fugard’s Blood Knot and The Train Driver. Shortly before rehearsals began, they spoke with Literary Associate Nathaniel French about their collaborative process and what it’s like working with a playwright who’s also the director. (right): Barbara Oliver in The Road to Mecca at Berkeley Repertory Theatre, 1988. Signature: Can you tell me a little about how you began working together and what your process is like? S: In addition to being the author, you’re also the play’s director. How do you navigate those two roles in the rehearsal room? AF: My approach is to tap into what I think is at the heart of theatre: It’s a collaborative art. It starts with somebody who sits down and tells a story on the page or the computer screen, but that’s just the first step in a process. I’ve always believed that there is a creative potential in the actor. He or she is not merely an interpretive artist, but a creator in the first instance. When I audition, I try and find a sense of a creative potential in the actor. I look for that, I try to sense that out. And I’ve been pretty lucky so far. My hunches have been pretty good. Like choosing Colman Domingo and S: What do you consider your role to be in bringing Athol’s work to life? Christopher Barreca: Susan, Steve, and I started working together 30-plus years ago and started The Studio together on 17th Street, a designer collective that included Doug Stein, Cathy Zuber, Derek McLane, Andrew Jackness, and Toni-Leslie James. Athol started working with Susan at that time, and over the years we all connected at The Studio. It’s been very special for the three of us to work together on Athol’s recent work, with him directing. We know each other so well, we have a shorthand, and we feel comfortable enough to give each other ideas and talk about each other’s work. (below): Roslyn Ruff and Namumba Santos in Coming Home at Long Wharf Theatre, 2009. CB: I believe with Athol’s work it’s important to take care not to over-embellish. His poetry needs room for the imagination. He and I are always stripping away, essentializing. Susan Hilferty: The times that the three of us have worked together on Athol’s plays are a celebration of Signature Theatre and its recognition of Athol by committing to doing his work. I think for the three of us, the celebration of a new space, with new theatres that were baptized by productions of Athol’s plays, is significant. Athol is a writer whose vision was created connected to theatre companies and a small circle of artists. So it’s a great return for us to come together in this new home and new family with Athol. S: What unique design challenges does this play present? Stephen Strawbridge: The play requires a special discipline from all the designers. The challenge is to pare away anything merely decorative or non-essential to find the pure, simple visual vocabulary that will let the story emerge. That takes a lot of work and a lot of discipline. A particular challenge for the ligh