Take Five! with Helen Hayes nominated Directors

Directors call everyone together. They first create a safe place for everyone to explore the text and what they can bring to it. They are the shamans, shape-shifting their own presences – sometimes strongly guiding, other times receding into the background and letting the collaborative transformations take place.

Take 5! with Helen Hayes nominated directors:
Aaron Posner, Allison Stockman, Amber McGinnis, Bill Rauch, Christina A. Coakley, Colin Hovde, Ethan McSweeny, Kathryn Chase Bryer, Mark Jaster, Matt Conner, Michael Kahn, Rick Hammerly, Sabrina Mandell.

(No time for a long read? Find nominees and shows using the Search box)

The nominees	Take Five!
	Kathryn Chase Bryer, Wonderland: Alice's Rock & Roll Adventure, Imagination Stage What attracted you to this project? I saw the show in Chicago and loved the script. I had never really understood the text before I saw this version of the story. Suddenly the story made total sense to me. I understood that this was a story about growing up and empowerment--growing up is SO HARD. and I think that sometimes as adults, we forget that. I was reminded that we all feel that way sometimes, even as adults. When Alice sings "How do you know what you know?" and "I wonder if grownups sometimes feel small inside too", I suddenly felt that i was not alone in the world and I thought, "Well, this speaks to me so I have to do this script." What were some of the directorial challenges? Though I loved the show when I saw it in Chicago, I knew that I wanted to do it bigger and better. For example, I wanted the Jabberwock to be a fully realized puppet that actor/musicians would operate while playing instruments during the battle. That idea took a lot of coordination and hard work on the part of the actors. Also, the show is almost all music so we really needed an extra week of rehearsal just to do music (which we did not get) before getting on our feet. This was just a huge show with lots of personalities and it took patience and compromise to keep everyone on the same page. But as I always say, keep your eye on the prize. Ultimately, we all understood that we wanted the same thing-- a show that reached our audience and told the story in the clearest, most thrilling and theatrical way possible. How did the final run of the show compare to what you had in mind at the start of rehearsals? This production turned out to be everything and more than I could have imagined. The actors were amazing; Debbie Jacobson's music direction was brilliant and working with choreographer Robert Bowen Smith was sublime--the three of us met every week for 2 months in order to prep for the show and it paid off! Ivania Stack (costumes) did an incredible job. Misha Kachman gave us a fantastic set to play on and Zac Gilbert lit that show like the rock show it was meant to be. I loved watching the actors work together to pass instruments, play music and create beautiful moments between each other that still live in my head and heart. Last Friday, I took Erin Weaver to sing a song from the show at the MD State Arts Council 50th Year Anniversary. It was so fun to see her dressed in that beautiful costume and hear her create magic again with Debbie accompanying her on piano. It made me miss the show so much! But that is the beauty and the curse of theatre--it was here, and now it's gone. What would be your dream show to direct? I love Annie Baker and Sarah Ruhl and would love to direct anything they have written. I wonder if they would ever write a show for TYA? In terms of existing scripts, there is a beautiful play by Jose Cruz Gonzales that i have always wanted to direct, SALT AND PEPPER about a little boy who teaches his Grandfather to read. And another by David Craig called DANNY KING OF THE BASEMENT about a child who has ADD and dyslexia. Both plays have some serious issues (a mother who deserts her children, homelessness) that our audience would have a hard time dealing with. Also, it is very hard for us to do plays that do not have known titles. What are you most looking forward to at this year’s Helen Hayes Awards? Being in that space at the Anthem! I have not been yet and what a great way to have a first experience there. And, I love seeing all my colleagues dressed up and ready to dance and party!
	Christina A. Coakley, Parade, Keegan Theatre What attracted you to this project? I saw the Donmar Warehouse production of Parade in London while I was on tour with Keegan in 2007. I was already in love with the music, but after seeing that production, I knew I had to do the show one day. What attracted me to it was the impact it left on me. The subject matter is extremely difficult, but we have to understand our history in order to not repeat the mistakes of the past. It is arguably more relevant today given the current political climate than when it was originally produced in 1998. What were some of the directorial challenges? One challenge for us was to humanize the citizens of Marietta. They can easily come off as over-the-top villains when you look at the racism of the era, but the industrialization of the South after the Civil War left a society broken and impoverished. Child labor was a very real problem, and they found a scapegoat in Leo Frank, a well-to-do Northerner who ran the pencil factory where Mary Phagan worked and was murdered. How did the final run of the show compare to what you had in mind at the start of rehearsals? This show was unique for me because there were many songs & scenes that ended up more beautiful in production than what I saw in my head at the start of rehearsals. A director's imagination can often be difficult to top, but the work of our designers, actors, orchestra and crew exceeded our expectations. What would be your dream show to direct? I've done Finn, Kander & Ebb, Flaherty & Ahrens, Pasek & Paul, Jason Robert Brown, but haven't yet had the pleasure to tackle The Great Sondheim. My dream show would really be anything by Sondheim. What are you most looking forward to at this year’s Helen Hayes Awards? Getting a babysitter and going out!
	Matt Conner, Blues in the Night, Creative Cauldron What attracted you to this project? I was initially attracted to the project because of it's wonderful song list. After getting in the room and rehearsing I fell in love with the craftsmanship and overall arc of the evening's songs. What were some of the directorial challenges? I think the challenge was to find an emotional thread and individual backstories without a book. How did the final run of the show compare to what you had in mind at the start of rehearsals?When we first starting rehearsing it felt more like a cabaret style evening and what we ended with was an evening with a more defined beginning, middle and end. What would be your dream show to direct? Grey Gardens What are you most looking forward to at this year’s Helen Hayes Awards? It's always great to see friends in the DC Community.
	Rick Hammerly, Lela & Co, Factory 449 What attracted you to this project? I've reluctantly had to admit that as I've grown older, I've become increasingly political and more likely to take on significant issues that I feel are in genuine need of exploration. Such was the case with Factory 449's last 3 productions, The Amish Project, Closet Land and Lela & Co. It does not escape me that all 3 of these narratives are told by women. I also now tend to gravitate more toward stories told by and for what I feel are unheard voices. This was especially true with Lela & Co. First of all, Cordelia Lynn's play is marvelous. The accomplishment that the play is so compelling, even as it examines the appalling treatment of women throughout the world, is a credit to Lynn's artistry. The play is important. Our production at Anacostia Arts Center was important. And the fact that this play was also able to showcase the inestimable talents of actress and friend Felicia Curry was an added reward, not just for me, but for everyone who saw Factory 449's production. What were some of the directorial challenges? Going into rehearsals, I realized that Lela & Co. had the danger of becoming torturous to watch for an audience. I worked hard with the cast, which also included Renaldo McClinton, to fully explore the comedic, hopeful, and lighter parts of Lela's journey, being careful not to play the horrors of the piece before we reached them. I even created a TV game show sequence to briefly relieve some of the heaviness of the narrative. Felicia and I also worked diligently to accentuate Lela's strength, will and ultimate survival. Lela literally goes through hell, but somehow finds her way through, a woman now determined to live, love, and protect her family in a way she never was. It was imperative for an audience to feel that. How did the final run of the show compare to what you had in mind at the start of rehearsals? The end product, as I find frequently the case, was even better than my original vision. That comes from being challenged by and collaborating with the myriad of creatives who also worked on Lela & Co. Working with and being open to the input of such talented artists, makes any production better. In this case it made me better, as well. What would be your dream show to direct? I have wanted to direct Sarah Kane's Blasted for almost 10 years now. It's an extremely difficult piece for most to stomach, but it has a great deal to say...especially in our current political climate, unfortunately. It is also an exciting and challenging opportunity for both actors and designers. We'll see. It's a lot and quite the hard sell. In the meantime, I'd happily tacked Tennessee Williams' Kingdom of Earth or Tom Wright's adaptation of Picnic at Hanging Rock. What are you most looking forward to at this year’s Helen Hayes Awards? The feeling of love, support and celebration I feel from and for this community of artists that I greatly respect. I find it thrilling to be in a room with so many talented people. People with live hearts, people with live minds, and people that are all dedicated to adding a little more magic, love, and compassion to this world. It is a special honor to be a part of such a loving and supportive community.
	Colin Hovde, Mnemonic, Theater Alliance What attracted you to this project? The work of Complicite has always captivated my imagination. Mnemonic, specifically, is a piece of theater that I saw as an early career director and have always wanted to explore the complexity, simplicity and magic in the way the story unfolds. What were some of the directorial challenges? There were a ton of challenges in the piece, but the main challenge I believe was that Complicite built this piece of theater with a company of actors over years of work sharing and experimentation. We were trying to rebuild a complex machine and we barely even had a blueprint. It was like we had an out of focus photo of what the machine looked like. So it was a true group effort to piece our own production together. Reading the script was similar to reading a tone poem. How did the final run of the show compare to what you had in mind at the start of rehearsals? The final run of the show was more captivating and spectacular that I had in mind and at the same time it was just what I and the team knew it could be. It surprised me many times on the journey. What would be your dream show to direct? For years Mnemonic was my dream show to direct. Now... I think that my dream show is one that has not been created. I want to work with a great team of collaborators to create our dream show. What are you most looking forward to at this year’s Helen Hayes Awards? The feeling of love, support and celebration I feel from and for this community of artists that I greatly respect. I find it thrilling to be in a room with so many talented people. People with live hearts, people with live minds, and people that are all dedicated to adding a little more magic, love, and compassion to this world. It is a special honor to be a part of such a loving and supportive community.
	Mark Jaster, BON VOYAGE! A Happenstance Escapade, Happenstance Theater What attracted you to this project? Sabrina and I are Francophiles. In 2009 we mounted "Look Out Below," with Karen Hansen, who is now the Happenstance Music Director. We wanted to revisit the territory of late 19th-Century France again with our full company now that we are a working ensemble of 6 creator-performers. The romance, the characters, the art and energy of the period attracted us. What were some of the directorial challenges? As performers in and directors of all the Happenstance works, it was a familiar challenge to be both again: to keep an eye on the rhythms and arc of the whole while creating and playing a role within it. As company directors, we also steer the collaborative creation of the material. We enjoyed the challenge of deciding what few elements to keep from the earlier trio approach to the material, and who should we all be?...what characters would make for the best use and balance of the company members' skills and the audience's experience of the material we wanted to explore. How did the final run of the show compare to what you had in mind at the start of rehearsals? We were delighted by the audience's enthusiastic hearty embrace of the world we created. One never really knows...we always hope and strive to create something uplifting, encouraging and rich with detail and depth, something resonant. When we felt it "landing," we were, well, "fulfilled" seems the best word. What are you most looking forward to at this year’s Helen Hayes Awards? Celebrating a very busy year's work with our beloved company and the rest of the DC Theater community.
	Michael Kahn, The School for Lies, Shakespeare Theatre Company What attracted you to this project? The combination of David Ives and Moliere. Couldn't beat that! What were some of the directorial challenges? When I agreed to do it, it was a two act play. In talking to David, he decided to make a new version, which cut the play to 90 minutes in one act. It was a terrific decision. The challenge of the piece was to find the right style between the original Moliere and David's amazing updated language. There were also a few complications with casting. How did the final run of the show compare to what you had in mind at the start of rehearsals? It was richer, funnier, faster, and more confident, and I actually had a good time seeing it at the end of the run and was sorry to see it close. What would be your dream show to direct? Honestly, after thirty years here, I would have done it, and did. What are you most looking forward to at this year’s Helen Hayes Awards? Being able to give Nancy [Robinette] her lifetime achievement award.
	Sabrina Mandell, BON VOYAGE! A Happenstance Escapade, Happenstance Theater What attracted you to this project? We devised this show because we wanted to imagine a voyage to Paris at the end of the 19th Century. What were some of the directorial challenges? It is always a challenge to be both in the work as a performer and to be directing on the outside. How did the final run of the show compare to what you had in mind at the start of rehearsals? Many of our discoveries continue to be made throughout the process and the run itself. There is constant tweaking even once we are open. Since the work is devised we have the freedom to continuously alter the piece once we see how it is landing with the audience. What would be your dream show to direct? I direct my dream shows every time because every show is one that I devise with my incredible collaborators to be exactly what we want it to be. What are you most looking forward to at this year’s Helen Hayes Awards? The new venue! And dancing! And seeing all of the amazing DC Theatre community dressed to the nines.
	Amber Paige McGinnis, Dry Land, Forum Theatre What attracted you to this project? It made me uncomfortable. I read it and cried then thought, "What caused this reaction? What's at work beneath the surface of this play? What nerve did it strike and how do I create that feeling for an audience?" What were some of the directorial challenges? Striking the performative balance between the oppositions that exist in the play. The characters are mature in some ways, and naive in others. They are vicious and kind, strong yet fragile. How did the final run of the show compare to what you had in mind at the start of rehearsals? Vulnerability and simplicity were always my litmus test. I wanted to keep it about the characters and the relationships and strip away anything that might compete with that. I think the final result was really raw. And it never could have gotten there without the bravery of our cast of mostly women, who were willing to strip down to nothing but a bathing suit on stage and tell the truth night after night. What are you most looking forward to at this year’s Helen Hayes Awards? The people. I love the DC theatre community. It's an honor to come together to celebrate the work of so many talented artists.
	Ethan McSweeny, Twelfth Night, Shakespeare Theatre Company What attracted you to this project? It's Twelfth Night! And its at The Shakespeare Theatre!! In my hometown of Washington, DC!!! (Doesn't this one kind of answer itself?) What were some of the directorial challenges? The plane crash that started it off (entirely self-inflicted). How did the final run of the show compare to what you had in mind at the start of rehearsals? I hoped but dared not dream how beautiful the music could be, especially in Heath Saunders hands. (And I had no idea what the end would look like until we did it.) What would be your dream show to direct? If I could have the cast and design team of Twelfth Night to collaborate with, there's nothing I wouldn't do with them. (Ok, also Hamlet.) What are you most looking forward to at this year’s Helen Hayes Awards? Sitting with my wife Nancy, nominated for her wonderful performance in Pajama Game. (Also getting inside The Anthem for the first time.)
	Aaron Posner, Or,, Round House Theatre What attracted you to this project? It's a really fun, really smart play, with great opportunities for actors. What were some of the directorial challenges? You need a terrific cast, and I had it in Erin Weaver, Holly Twyford and Gregory Linnington. We worked on the entire production very collaboratively. That collaboration-- which included our outstanding designers as well-- made the whole thing feel very much of a singe piece, which I think really helped. How did the final run of the show compare to what you had in mind at the start of rehearsals? I was very pleased by how the whole thing came out, and how audiences responded. I think it did exactly what we all hoped it would. What would be your dream show to direct? Mostly I just dream about whatever show I am working on... and often the one after that. So that means right now I am dreaming about Macbeth and You're A Good Man, Charlie Brown...hopefully not at the same time. What are you most looking forward to at this year’s Helen Hayes Awards? Going with my wife, and us taking our daughter for the first time.
	Aaron Posner, Me...Jane: The Dreams & Adventures of Young Jane Goodall, The Kennedy Center What attracted you to this project? It was our composer, Andy Mitton, and his passion for the project that first brought the rest of us into it. But Jane Goodall is a remarkable and inspiring figure and having a chance to tell her story in this way was quite an honor. What were some of the directorial challenges? There were a lot of great challenges on this one, including having actors play a bunch of different animals in the play in ways that really engage the imaginations of both kids and adults; telling Jane's story in a way that she would appreciate while keeping it accessible to everyone; getting at complex and difficult ideas about the world in the context of a fun family show. How did the final run of the show compare to what you had in mind at the start of rehearsals? We were all really proud of how it came out, and are thrilled to be remounting it next winter to take it on tour for five months. What would be your dream show to direct? I have new dreams all the time, but I would like to do more musicals and more shows for kids and families so my daughter can enjoy my work.
	Bill Rauch, Roe, Arena Stage What attracted you to this project? Roe was commissioned by the Oregon Shakespeare Festival's American Revolutions program. I have known and been friends with playwright Lisa Loomer for over two decades, having directed several of her plays. The themes of Roe and my love of Lisa's work made me very attracted to the project. I will confess that we had long discussions about whether I should direct it, though, given that I am a man. We decided that my being artistic director of OSF, the amount of new plays that I've directed, and my having interpreted so much of Lisa's work made it the right call to have me direct this premiere. Lavina Jadhwani just directed a production of Roe at Asolo Rep in Florida, and I very much look forward to all the future productions that will be helmed by women artists. What were some of the directorial challenges? The play needs to move quickly, and the transitions-- including the two main characters' actually aging in front of our eyes-- need to be theatrical and swift. Lisa's voice as a playwright is often comic while the subject is deadly serious-- finding that tonal balance was also a challenge, but a delicious one that I was so privileged to try to address. How did the final run of the show compare to what you had in mind at the start of rehearsals? We started Roe with a long run in Ashland, Oregon, and the Arena Stage engagement was our second go at it. It was wonderful, with the support of the team at Arena Stage, to dig even deeper into the material and put in some rewrites that Lisa did. We opened two days before the inauguration and the Women's March, and the play had never felt more vital and necessary. I think what shifted the most from my original expectations to the final run was my understanding of the audience's profound relationship to the piece. Two strangers, both women, were sitting side by side in the audience at Arena, and in pre-show chatting realized that they were on opposite sides of the abortion question. At one point during the show they found that they were both in tears and held each other's hands. That is the power of Lisa Loomer's play, and I feel so lucky that I was able to be part of it in D.C. What would be your dream show to direct? Whatever one is next. I am blessed that at this point in my career I get to direct projects that I am passionate about. I just opened an LGBTQ-inclusive production of OKLAHOMA! here at the Oregon Shakespeare Festival and I am so proud to have been part of it. What are you most looking forward to at this year’s Helen Hayes Awards? I was lucky enough to win a Helen Hayes Award many years ago, and I have always been moved by the sense of community that this ritual reflects and helps create. The theater scene in the D.C. area is extraordinary-- so vibrant and engaged and powerful.
	Allison Arkell Stockman, The Wild Party, Constellation Theatre Company What attracted you to this project? The music. The first time I heard it, I knew I would love to live with it daily for a multi-month creative process. What were some of the directorial challenges? The "Gang"/ ensemble/ Collective Id are onstage for 85% of the show, and discovering how to keep them animated and alive without drawing too much focus from the action that was essential in each moment was a challenge. How did the final run of the show compare to what you had in mind at the start of rehearsals? Ilona Kessell, the choreographer, excelled with dynamic configurations and electric movement that I was just delighted with! The cast, the design team and the orchestra united to create something very special and that was rewarding. What would be your dream show to direct? Les Miserables. What are you most looking forward to at this year’s Helen Hayes Awards? Celebrating with the awesome community.

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