by Kristen Leinbach, Dramaturg
As we move from discussing the original novella of The Light in the Piazza, to discussing the musical, Craig Lucas will be our first stop as the award winning playwright. Throughout his career he has received honors that range from a 1989 Drama Desk Award for Outstanding New Play, to a Tony Award for Best Play. Most recently, in 2005, he received a nomination for the Tony Award for Best Book of a Musical for non-other than The Light in the Piazza.[1]
[caption id="" align="alignright" width="198"] Craig Lucas[/caption]
While Piazza was in production at Washington D.C.'s Arena Stage, Lucas stated that, “having lived with and within the worst excesses of reactionary America, [he] considers himself the luckiest man alive to be able to express himself.”[2]
Born on April 30th, 1951 Lucas was found by police in a parked car across from a gas station in Atlanta, Georgia. The acclaimed playwright came from an unconventional background as his unwed teenage mother gave birth to him at a hotel with only her mother there as comfort. She placed Lucas in a parked car and after calling the police waited for her baby to be safely taken to a local hospital.[3]
Lucas was adopted by a couple living in Pennsylvania where he grew up already beginning to enjoy performance and the theatrical world. As a child he would write his own scripts for performances he would give as a puppeteer and a magician.[4] He continued to practice the dramatic arts as he attended Boston University studying theatre and creative writing. After graduating and throughout his twenties he supported himself by performing in the choruses of a number of Broadway plays which also allowed him time to begin cultivating his talents as a playwright.[5]
Throughout his career Lucas has written countless books, screenplays, and theatrical plays including the award winning musical, The Light in the Piazza. We look forward to bringing the eloquent language and story of The Light in the Piazza to life on stage as we have the opportunity to share Craig Lucas’ written work with you!
Before a show opens its doors to audiences, before there are costumes and props, before sets are built and actors are cast, it starts simply as an idea. This idea is known as the ‘director’s concept,’ which a director presents to the designers at the show’s first production meeting. After that, it is the designers’ job to transform that concept from an abstract idea to a physical manifestation that can be seen onstage.
One of the great things about working as a production dramaturg is the time spent in rehearsal working with the actors. For this production of 12 Angry Jurors, we spent quite a bit of time exploring the world of the play. To help the actors interact with the courtroom drama world of Boston in 1953, we created a dramaturgical website for the actors. We put a link to this website on QR codes that were printed and hung throughout the rehearsal space, so that the actors could have access to the website at any time.
One of the first things many people think of when they hear the word Christmas is gifts. Gifts and Christmas have been interchangeable for a very long time in our world’s history. But over time, what people think of as gifts has shifted. Each new era or generation defines it differently. There were monetary gifts such as gold, frankincense, and myrrh in the days of Christ, when all things were handcrafted and only the wealthiest of people could have precious ore or spices from distant lands. Or perhaps, during the great wars of the twentieth century, a gift of war bonds was precious when patriotism and the survival of the world made things like toys seem trivial to many. Now, everyone wants the latest iPhone or the newest technology. Throughout our lives, what we want also changes. Gifts shift from toys, games, and candy to technology or clothes–all inconsequential things that provide short-term entertainment. However, all of these things fade and have less impact on our true joy. Joy can really be found in the simple things of life.