Review Fix chats with playwright Luke Bond, who discusses his new production.
About the Production:
| “Waiting for Lefty” by Clifford Odets was produced in 1935 by The Group Theater and was heavily influenced by the 40-day cab drivers’ strike the previous year. Luke Bond’s play continues where Odets left off — showing us how little has changed. Set in the very recent past and the uncomfortably near future, “Still Waiting for Lefty” follows the lives of various warehouse workers for “New World Tech.” This all too familiar looking predominant and monstrous tech company with international influence continuously profits on the back of the working class. As workers of the world unite to battle for equitable wages and working conditions, they must overcome New World Tech’s sinister and underhanded tactics for resolving labor disputes, wherein workers’ integrity and solidarity will be tested. |
| A cast of dozens represents a “cast” of millions … of workers. Featured in the cast: Bill Blechingberg,* Ivan Goris, Laura Jones, Ron Brice, Tatiana Grey,* Len Nash, Greg Seel,* Majo Bermudez, Federico Mallet, Brian Cook, Tut Gregory, Ronald Barshop, Hannah Williams, Preston Johnson, Maria Christina Perry,* Maria J. Payares, Alan Gonzalez, Kamailyah Floyd, Emily Song Tyler, Alex Morrison, Luke Hodgeson, and Grant Williams. (*appearing courtesy of Actors Equity Association) Original Music by Zac Wood Fight Choreography by Gabriel Rosario Assistant Fight Choreography by Tristan Mesmer Dance Choreography by Silvana Gonzalez Life Jacket Ad by Bri Thomas Program Artwork by Kevin Wadee Photography by Ketak Dhiman Written and Directed by Luke Bond |
Review Fix: What was your inspiration behind this project?
“Inspiration” is a difficult term to quantify when it comes to producing a specific project. There are so many details as to why one project or script gets chosen over another, such as do I have the right people to bring onboard? Will I be able to amass the required resources? Will I have access to a venue? Will I survive the bankruptcy when its all over? Do I have an upcoming gig that can perhaps scratch the artistic itch instead? Do I have an upcoming gig that will help repay the bills once the show is done? Is this project susceptible to being canceled if disaster strikes? Ultimately, “inspiration” is for amateurs, and is not to be relied upon if one hopes to be able to create art at any level of consistency. On the more sentimental side, this is a story that has been on my mind for many years, and I’ve always wanted to do something that expresses my admiration for The Group Theater, and how their artistry defied all the practical expectations of their time.
Review Fix: What’s your creative process like?
For writing? Directing? Producing? Ultimately, process is unique to the story. This story required me to flex the specific muscles required to tell a complete story in one scene – the “vignette” nature of the story has several characters only featured for one scene. Part of the process was reading and re-reading the complete works of the majority of artists involved in the Group Theater, such as Harold Clurman, Cheryl Crawford, Clifford Odets, Lee Strasberg, Stella Adler, etc. Reading the works of Clifford Odets was helpful for the writing process as I tried to regurgitate qualities of his soul, whereas the works of all the others was helpful more so in the directing, as I tried to recreate some of the more classical rehearsal practices of The Group Theater, rather than what they’ve evolved to over the decades.
Review Fix: What did you learn/are learning about yourself through this process/production?
I’m not sure if there are qualities in myself that have been unearthed in this process; new skills and lessons have been plenty! Perhaps my ability to organize, compartmentalize stress, and schedule tasks around the all-consuming tasks of survival have been slightly revived; I have also had a reaffirmation of instincts and production philosophy throughout this process.
Review Fix: What are your ultimate goals for this for the future?
This play has a cast of 22 people. There is no future for this play beyond July 6th. Even if schedules were to magically realign, “Teatro Latea” is the only venue where a play of this nature could happen, which is closing for construction the day after the show closes. A bigger theater would require a bigger budget, and while we are an Equity Approved showcase, their regulations would not be possible to navigate with a show of this nature; this show is only possible because of the timing with this venue, and of the generosity and dedication of the 22 actors who are sacrificing their time and contributing their talent to bring the story to life.
Review Fix: What’s next?
I will be repaying the money required to fund this project for the next three years – I would not expect anything anytime soon! Our world changes so quickly, looking three years ahead feels futile and foolish.
Leave a Reply