Sunday night we "cleaned" the movement segment that opens Headwaters - seven very important minutes.  We re-staged several parts of the "Geology/Cherokee/Forestry" section, where we tell the story of the land from both scientific and mythic perspectives. 

The first draft of the movement for that section, by Celeste Miller, created lines of people who were representing (to me) currents in rivers or in evolutions.  Patterns of chaos, as Jo Carson would say.  But we had a challenging intersection right at center stage that wasn’t clearing itself up.

The Headwaters company is frequently referred to as "the self-repairing ensemble" - these folks can figure out how to make something work with nearly 40 people faster than I can tell them to, in most cases.  So Wayne Smith, the movement co-designer who’s here to do the cleaning, and I gave the cast their ending points for the segment and let them create their own paths.  These ended up being more complex and easier to navigate at the same time. 

Tonight I’ve used the video Tommy Deadwyler shot of the opening segment to plot out how the company will perform the opening song and "I Come From’s" for the SummerFest Lawn Party on Friday of this week. 

Also tonight (Monday) we rehearsed the "Flyin’ Cross the Chattooga" scene - the new piece in the show.  We’re finding our way through this scene, and discovering the intricacies of double casting: the two boys playing one son are taking different sides in the dispute between mother and father.  That keeps a scene alive!

We rehearsed the first Fishing scene, where we introduce the concept of dynamite fishing, and then staged it outdoors for Friday night.  And we finished the night with Jill Hazen and Barbara Dawson working on the second fishing story. 

I have to leave this rehearsal process for three nights - I’ll miss the Lawn Party - but the show will be in the capable hands of Tommy Deadwyler and Mallory London.  And the self-repairing ensemble. 

I’ll be attending the National Performing Arts Convention, where 3500 people from all of the performing arts disciplines will gather to set priorities for collective action - a set of ideas for the Obama campaign to incorporate (and McCain, if he’s got the cojones).  I’ll be one of 350 facilitators guiding groups of people in discussions.  It’s a process I’m very interested in learning more about.  And it’s OJT, my favorite learning mechanism.

Here’s to hive knowledge.  It makes a good show.

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