John Dillon
(spring semester)
Evaluation
In the first term of Directing Shakespeare, we focused on the pre-production process of directing HAMLET, looking at the steps leading up to the first rehearsal. In the second semester we began to look at the rehearsal process itself. To do that, we recruited additional students in the class who wanted to be in scenes as well as having some guests to work on how to approach Shakespearian text (Kate Udall and Saxon Palmer) as well as how to approach costume design and it’s implications for actors (Sam Fleming). Gary was one of the students who joined us in the second semester as an actor.
Gary always brings a joyous spirit to his work as well as tremendous energy and warmth, all of which helped him in the early going. At the same time, he clearly struggled with Shakespeare’s language, having difficulty making it flow. His first efforts were halting, giving every thought it’s own stop-and-go moment. But he applied himself to the work and seemed to gain immeasurably from both the guests and their lessons and my own emphasis on both verbal flow and techniques for breaking down the text into clear patterns that help meaning emerge. As a result of all that, I can’t think of a single student that made greater strides than Gary and his ability to act Shakespearean text with greater clarity and fluidity had grown greatly by the end of the term. This progress continued even when he was working with directors that had trouble making themselves and their objectives clear. In addition, his work was always done on time and his attendance was excellent. In short, he’s a pleasure to work with and I hope he continues to work with Shakespearean text as his passion and athleticism, added to the new verbal skills he learned in the class, give him great promise with this challenging material.
Class Papers
Personal Evaluation
Previous to John’s class my experience with Shakespeare in class was limited to the previous semester in Michael Early’s Acting the Poetic Text. As an actor in class I wished for more time with my class directors. Often we met outside of class but sessions were short and often unfocused.
Class performances were sporadic due to the nature of the class – a large number of directors and an equally large number of actors. I did not feel my abilities improving throughout the class but I did pick out one extremely helpful technique during a short performance by a previous ‘Hamlet’ that worked with John.
While working with John the performer would recite the first few words two to three times and then break into the dialog. It was amazing to witness. And it made so much sense.
It is nearly impossible to reclaim intensity without having some sort of build. This small, and quite likely overlooked, technique stood out like a ringing bell in my ears. Since that day I remind myself of how it can be used as a tool for rehearsals and auditions.