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