We made it!
Time was spent in Charles de Gaulle Airport ironing out some of the kinks in the play’s dramaturgy. Is it clear who wants what where? How to ensure an effective recognition and reversal without sacrificing graceful subtleties? Ah, playwright problems.
COYOTE COMES/BEAST THING features a chorus, which speaks in fragments, interrupts, sings, chants and beatboxes (some of y’all know how I do). My greatest question surrounding choral work is always, how can I make this dynamic, truly connected to desire and coherent? What’s my version of the “chorus” trope? How will a (mostly) French audience respond? How will the actors respond? Le sigh.
I’ve also been experimenting with how the language performs on the page. I’m hoping the typographical clues will enrich and aid rather than confuse.
Anyway, I’ve been revising the text and coming up with clear articulations for how to accomplish this or that. I’m enthused and optimistic and feeling like Time itself has been hitting me in the face. O, sleep.