The nature of the work is to prepare for a good accident.

Sidney Lumet

So I found Sidney’s words reading Rob Brezny’s latest Free Will Astrology newsletter, but I believe in fortuitous coincidences, and he expresses what I have been trying to articulate myself about directing and The Lab.

Choosing to be a theatre artist often affords a wild pendulum swing between creative momentum and seeming inertia. Projects seep into every waking moment of some months, and then –

A Hiatus.

And whatever you started gaining wisdom about through the practice seems to get a little blurry, and the unwanted bag of tricks and old habits start to elbow their way back to the front again. So how do you maintain your practice and progress in the gaps? How do you ensure that you ‘try again, fail again, and fail better’ the next time? In Anne Bogart’s November SITI blog, she writes about the necessity of deep practice, referencing neuroscientists’ discovery that ‘only after 10,000 hours of practice is real progress and innovation possible.’ Which has me wondering what hour I’m at…

The Lab has me reading three+ books at once, investing hours in an only imagined production of RIDERS TO THE SEA, and discussing the bones – and art – of directing. It feels like it is nudging toward a deeper practice, which is a joy. I am looking forward to working on Matt and Elaine’s plays in the SCRIPT-IN-HAND SERIES and to the adventure of AND THE BANNED SLAMMED ON in the new year.

Here’s to 10,000 hours –

Andra will direct Elaine Jarvik’s as-yet-untitled 30-minute play on March 10 and Matthew Ivan Bennett’s as-yet-untitled 30-minute play on June 2 as part of the free SCRIPT-IN-HAND SERIES. She will also direct for the second year for AND THE BANNED SLAMMED ON on May 1.