Capturing the Emotions of Ben Harcourt

Using the tragedy 9/11 as the backdrop for the The Mercy Seat, one might think that the play would be a simple one-note characterization of sad, sad, and then a little more sad. However, that is not the case. While Neil LaBute chose to use 9/11 as the background for this story of 2 lovers presented with the opportunity to start fresh, the story is actually more about relationships, morals, and how far someone will go in the face of a tragedy, whether it be 9/11, or Hurricane Katrina, or any other apocalyptic event. As our Director, Danielle Young, pointed out to us very early in the process, it would be very easy to fall into one continuous, flat “level” in portraying the roles of Abby and Ben. That would make for a VERY boring night out at the theater, for both the audience, and for us as actors. When we really started digging into the script, and working the different sections of the play (it is basically a one-act play, with a single, hour and a half long scene), we found many other emotional qualities, including, but not limited to, humor, anger, sarcasm, self-loathing, and even several moments of tenderness. It is in fact, one hell of an emotional rollercoaster. To be perfectly honest, the process has, at times, left me feeling dirty. When I take on a role, I do my best to throw myself into it, head-first, and live the character. For me, that is the only way to appropriately portray a character. And while it definitely takes some time to wind down after rehearsals, or at this point, after a show, to me it is well worth it. While this play has had a different effect on each audience, I have noticed that by the very end of the play, there has been more than a sniffle or two to be heard throughout the theater. And as an actor, there's no better feeling than knowing you "moved" an audience.

A Director's Lunch Time Blog

You know what's awesome about being a director? I'll tell you. It's watching the audience's response to the show you directed.

You know what's completely terrifying about being a director? I'll tell you that too. It's watching the audience's response to the show you directed.
It was a very surreal experience. I had seen the show multiple times leading up to opening night, but it's a completely different experience when there are people seeing it for the first time.

There were moments that are (supposed to be) funny in the show, but considering the content, I was terrified that people would not laugh. I quite literally held my breath several times when I knew a funny or shocking moment was coming. After awhile, I forced myself to relax and just enjoy it...but it was hard.

Now that the show is open, I've had to let go of it. It's in the capable hands of my stage manager and actors. I can't change anything. There's no turning back. All of the decisions that I've made in the past two months are publicly displayed every weekend until the beginning of October. I can't guarantee that everyone will like it - though the feedback has been incredibly positive, from what I've heard so far. I am open to criticism and praise - I'm not sure which is better.

On one hand, I want to know that other people agree that this is a good show - because I firmly believe that it is. One the other hand, I want to grow as a director. I want to know what I can do to improve. What moves my audience? What angers them? Shocks them? Do they hate the dust all over the chairs? Do they find some meaning in the title of the show that I just didn't see? Because let's face it - even though I read and saw this show over and over for months, I still did not figure out every way to interpret every word. Between the actors, my stage manager and myself, we found several ways to interpret most of the moments - but there's always something else.

When it comes down to it, I want to be better. I want every performance of The Mercy Seat to be better than it was the last time. I want Brett and Kasey to go out with a bang every night. And I want you to be there. Yeah, you. If you're reading this right now, and you haven't seen The Mercy Seat, you should see it. I am confident in this show, and in the Strand. There's some great stuff happening - please come be part of it!

I Chose Directing.

I think I became a director totally by accident. In college at FSU I was planning on being a Sociology major. I ended up working on a production of Romeo and Juliet my first semester freshman year as a wardrobe assistant for credit in my Intro to Theatre class. The rest is history. Here I am, 6 years later, directing my own show. Theatre (namely the people involved) has a way of sucking you in. Once I started, back in the fall of 2003, I never looked back. I had a crazy schedule - up early for 8 am classes and falling asleep after late night rehearsals sometime around 2 am...IF I didn't have homework to finish (which I usually did.)

My life isn't so different now. I live in Rockville and work in Gaithersburg. I'm at work every morning by 8 am and in rehearsal in Baltimore 'til 10 at night. If I have a good drive, I'll be home before 11. Once I didn't get home until 3 am. I drive, on average, 2 and a half hours per day when I'm in rehearsal. In many ways, it's exactly the same schedule I had in college, which I guess is what makes it so easy. It's been a real challenge, though, to juggle the "real world" stress with directing a show that contains such stressful content. Don't get me wrong, I love this show. I love my cast and crew. I don't think I could have asked for a more fulfilling first experience directing post-undergrad. I think the stress is what makes it so great. I love finding problems and having to fix them. I love two week escapades to hunt for the right rug and table in thrift shops - only to have Jayme find a PERFECT table in Wal-Mart, of all places. I love pushing my actors to places that they don't want to go. I've gone to places that I don't want to go. I spent countless hours watching video clips from September 11 and 12, 2001, looking for appropriate video and audio to use for the show. Not the best way to spend a few Saturday nights...but that's what I did.

We hit the ground running pretty quickly. Finished blocking in a handful of days, had a series of difficult line rehearsals and some great character development work in the following weeks...and now we're almost to opening night. I've watched my actors transform into these other people. These complex individuals with so many problems, worries, hopes and dreams. There are age differences between my actors and the characters they portray. Making the decision to cast actors who don't perfectly fit the type written by Neil LaBute really wasn't all that difficult. I realized early on that it's not about their actual ages - it's about what they do on that stage. I wouldn't trade some of the "breakthrough" moments we all had for anything in the world. I don't know if it's like...watching your child take their first successful steps, or something cliche like that...but I'm really so PROUD of how far they've come. If the audience is moved, angered, shocked, etc. by their performances and the story, then all of our jobs are done. We have created, in the past two months, a great show. I hope that the community takes the opportunity to get sucked in by this show, and by the Strand. We're awesome!