Grace Geller: Take Two

What’s scary about boiling Brussels sprouts? I have no idea, but there’s something creepy when Frog compares inflicting ‘physiological terror’ on Big Bear Trading to boiling Brussels sprouts. This is one of my many favorite moments in “After the Quake.” Murakami is a beautiful author. His words paint an elegant story that has been masterfully translated into a play by Frank Galati.

Despite the shudders Brussels sprouts now give me, “After the Quake” is not about terror. As we’ve been working through the production process there have been many discussions about the element of ‘fear’ in the play. The play hinges on nightmares surrounding the 1995 Kobe earthquake. But, as the title states, it is a play about what happens ‘after the quake.’ It is a play about how people deal with fear – from widespread death and destruction to personal insecurities. The play depicts universal problems and showcases the best of people. There is hope for every character, from the lonely honey bear Masakichi to the central character Junpei. There is hope that everyone can face their fears.

We have a little under a month left and we’ve already started doing runs of the show. Last week we incorporated the musicians into some scenes. Music is a HUGE element to “After the Quake.” The musicians will constantly be on stage and act almost like another character, helping to drive the show. Music is also vital to help the audience understand the progression of the play, as it switches between time, place, and character rapidly. Although I knew all this from reading the play (and seeing all the music cues), it was a shock to hear the musicians actually there working with us in rehearsals. I had grown accustomed to all those awkward moments. But now, music really brings the show together; it fills in pauses and creates charming moments.

Working on the show so far has been a truly rewarding experience. I am able to talk with Shawn (the director) and Liana (the dramaturg) during each rehearsal and then watch my comments effect the scene. I’ve also been working individually with some of the actors before each rehearsal, helping them with character work and their objectives for long monologues. I feel like I’m really a part of the rehearsal process.

I’m off now to start “Norwegian Wood,” one of Murakami’s novels. You should watch the video trailer and get your tickets for this amazing play.

I’ll write again soon!

* Grace