Sunday, 13 March 2016

Andrew Strano @Edfringe 2015

The Fringe
1. What inspired this production: did you begin with an idea or a script or an object?
Initially, the show was inspired by the deadline. Loclan and I write together and wanted a kick up the butt for productivity's sake.

2. Why bring your work to Edinburgh?
International press, the fun of it and because Loclan moved to the US immediately after the fringe to study Music Direction at Penn State. It was a sort of farewell tour!

3. What can the audience expect to see and feel - or even think - of your production?

Included. It's a look at love and relationships (and Hogwarts. And incest. And plant genitalia), but the big thing we're saying is "me too". We've all been through the heartache. Let's realise we aren't alone, and maybe laugh and cry about it a bit.

The Dramaturgy Questions

1. How would you explain the relevance - or otherwise - of dramaturgy within your work?
STRUCTURE. We start everything with structure. We looked at the songs and the story we wanted to tell - and devised the invisible structure so that the shape of the show mirrored a relationship. And also a good show.

We often do this with our director/dramaturg Casey.

2. What particular traditions and influences would you acknowledge on your work -  have any particular artists, or genres inspired you and do you see yourself within their tradition?
Musical theatre. Stephen Sondheim's books - Finishing the hat and Look, I made a hat. 

3. Do you have a particular process of making that you could describe - where it begins, how you develop it, and whether there is any collaboration in the process?
It depends on the song, but typically I have an idea, then go to Loclan on a day where we talk a few through. I write a bunch of ideas and thoughts down as we spitball. Ideally we have siome idea of structure at the end of this day. For each idea I record a snippet of how they sound to Loclan (he messes about on the piano and gives me small snippets and feels). 

I typically then go awaty and procrastinate a bunch (I call this phase "research") until panic-writing a full lyric in a night. I bring that to Loclan, he goes away and formally sets it to music (his turn to take time) and gets me to rewrite/negotiate-him-rewriting any inconsistencies in the fit of lyric to music. After this negotiation, we're largely done! 

4. What do you feel the role of the audience is, in terms of making the meaning of your work?
Everything is a conversation. Between myself, Loclan and the audience. The dialogue and "patter" is very loose - it follows a plan, but there are plenty of opportunities. Tailor made to audiences based ion their reactions. They have to come to us and we have to go to them. Nothing means anything until it's heard and reacted to. They also teach you about the show. If you're clever, you'll incorporate what you've learned.

5. Are there any questions that you feel I have missed out that would help me to understand how dramaturgy works for you?
Not really, but if you have more, shoot them through!

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