Both Paul & Katie touch on the nature of artistic ensembles in their recent blog posts, something I’ve been pondering myself lately. I consider the Lifeline ensemble truly fortunate, since the primary function of the group is to choose and develop the material we produce, not merely just to direct/design/act in it. We aren’t stuck having a season dictated to us by an outside person – we work together to uncover the passion projects we want to work on. We don’t take a “back seat” role in productions we aren’t directing/designing/acting in – we play a vital part in the development process, from early discussion through draft readings, rehearsal runs, and the preview process.
As an ensemble member at Lifeline, I feel a sense of pride and ownership in every show we produce, since my voice and ideas were heard by the production team at every step along the way. This is equally true for shows like The Picture of Dorian Gray (which I pitched to the group and wrote the adaptation for) as for shows like Mariette in Ecstasy or Duck for President, which I “only” experienced as an audience member. And while some seasons go by when I may not be cast in roles I would have liked to play, or when the other commitments of life preclude me from participating as much as I’d like in the development of a show or two, still those shows are as important to me as the ones I personally submitted for the ensemble’s consideration. As is sharing in the growth and development of each of my fellow ensemble artists – and the theatre as an institution.
The Lifeline ensemble exists to tell stories. Sometimes, as a member of the ensemble, I’ll act in those stories. Sometimes I’ll write them. Once in a while, I may even direct them (as with the upcoming Treasure Island – gulp). But most of the time my job is to encourage, question, challenge, support, and nurture my fellow ensemble members as we work together to creatively share the stories that excite us, with the audience that means so much to us.