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The third and final Mainstage Production of theatre KAPOW’s 17th season is just a week away! The Best We Could (a family tragedy) by Emily Feldman continues our theme of Conversation as we ride along with Lou and Ella, father and daughter, as they drive across the country to pick up Lou’s new dog. Guided by a narrator called Maps and interspersed with memories and phone calls from Ella’s mother, Peg, their journey reveals hard truths as their pasts slowly rise to the surface. Theatre KAPOW’s production of this debut play is it’s New Hampshire Premiere. 

Actors Alex Picard (Peg) and Samantha Griffin (Maps), both making their tKAPOW Mainstage debuts, shared some insight into the rehearsal process and the play. 

Q: Are there particular themes in the play that resonate deeply with you? What can you not get enough of exploring in the rehearsal room? 

Alex Picard (AP): The idea that we are all just doing the best we can is something I think we can all find some resonance with. We’re pulled in so many directions – work, home, family and friends that it’s difficult even to find time to ourselves nevermind to take care of ourselves. That’s something I hear in my head every day.  I’m doing the best I can.  Sometimes we are.  Sometimes we’re not.  But in the end it’s all we can do.  

Samantha Griffin (SG): Something especially exciting we get to explore in the room is the transfer of knowledge through time, and as this play is presented non-linearly, it’s really interesting to track when people find things out, and how that affects conversations when the audience still doesn’t have all the information. 

Q: What role does movement and physical exploration play in the rehearsal room and in the production?

SG: theatre KAPOW in general always makes a point of playing with physicality and movement, even in pieces that aren’t scripted to include those elements. We always start rehearsal with a physical activity or game, and that helps inform us as actors that it’s okay to use movement and explore throughout the rehearsal. 

AP: Movement and physical exploration has been critical in the development of the world of the play, characters, and how they physically relate to each other. I love working physically with character and finding the things that make Peg, Peg helps me to lean into her and her family more effectively as everyone in the cast is working similarly. We never leave the performance, though we do leave the scene and finding how we relate to the action as well as our need to move to the next place/person/moment is the bulk of our work. 

Q: Has your experience working on this play or collaborating with theatre KAPOW offered anything distinctive compared to your previous work as an actor?

SG: I’m always struck by how collaborative the room is when working with tKAPOW. There are the designated roles of director, stage manager, and actor, but in a lot of ways we are all contributing to the overall picture of the piece. In this play especially, I think there are moments where each of us could say “that came from me”, and that’s really special. KAPOW’s model is pretty rare, especially in NH, and I think that’s part of what makes their work so unique. 

AP: I’ve worked a lot in a lot of different places and one thing I see at KAPOW that I didn’t always see in other theatres or with other companies is the careful attention they pay to the emotional, physical, and mental wellness of their cast and crew.  It’s deeply appreciated. I feel cared for on and off stage. 

Q: Is there anything else you’d like to share about this play or process?

AP: I love how Emily Feldman built this world.  It’s structurally very interesting and her use of repetition is very powerful. Her characters are flawed and human and try so hard. Sometimes they gain ground, but more often than not, they’re just working with everything they’ve got not to slide back instead. 

SG: Life has both light and dark, and so does this play. I hope you can join us in finding the beauty and humanity in each. 

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THE BEST WE COULD (A FAMILY TRAGEDY) BY EMILY FELDMAN performs at BNH Stage in Concord June 13-15th. Tickets are available online now!: https://ccanh.my.salesforce-sites.com/ticket/#/events/a0SUT000000HOqj2AG

Theatre KAPOW’s second mainstage production, Every Brilliant Thing by Duncan Macmillan with Jonny Donahoe, is well underway! Having started rehearsals a month ago, director Emma Cahoon and actors Peter Josephson and Carey Cahoon have been hard at work  unpacking the puzzle as the performance dates approach. 

Emma Cahoon is a theatre-maker dedicated to the art of asking questions. A graduate of Boston University with a BFA in Theatre Arts, Emma has worked with organizations across the country including Central Square Theater, What Would the Neighbors Say?, the Seven Devils New Play Foundry, and more. Emma is very grateful to be working with theatre KAPOW again, with her previous directing credits including A Midsummer Night’s Dream for St. Anselm College’s Shakespeare on the Green and performance credits including Life Sucks. (Sonia), The Penelopiad (Maid), and Translations (Sarah). Emma’s directing practice centers elevating and exploring dramatic texts to their fullest depths, while building collaborative environments built on equal parts creativity, joy, and rigor, and working on Every Brilliant Thing has been a challenge and a joy for her.

Emma shared a bit about the unique experience of rehearsing this particular play and what she hopes audiences will get from it. Read the conversation below!

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Q: How is Every Brilliant Thing unique from other plays you’ve worked on?

A: Every Brilliant Thing is a one person play, but it can’t be done alone because it relies heavily on audience participation. So there’s a script, but it can never be repeated exactly the same way. With two actors performing the play on alternating nights and an entirely different audience each time, every single performance will be different. It really takes the magic of the live theatre to the next level. It’s my feeling that every play should feel not just like a thing to be witnessed, but like a communal event. With this play, evoking that feeling is necessary. Every Brilliant Thing tells the story of a person grappling with their mother’s depression, and about the endless search for what makes this life worth living. So often, the answer to that question comes down to the people around us. That’s what Macmillan is reminding us by requiring the audience to be a part of the story; the only way through is together. So not only is the content of the piece unique and beautiful, but so is the way the story is told- in the round, with the house lights up throughout, and with the audience actively participating in the storytelling.

Q: What are some challenges and opportunities that this piece presents to a director and creative team? 

A: Rehearsing and staging a one person play presents its own challenges, as does staging in the round. I’m constantly looking for ways to make sure everyone can see and hear the actor without creating repetitive stage pictures. But our biggest challenge and our biggest opportunity is with the audience participation. What the audience will say or do or be willing to engage in is one giant variable we can’t control- it’s thrilling and terrifying! So much magic will be made in real time, surprising both the audience and the actor at the same instant. The caveat there is, of course, that we can’t plan it ahead of time. Peter and Carey and I are all artists who like plans- I like to be very specific with my staging and pacing, and Peter and Carey are typically actors who like to know what it is they are doing in every moment of a play so that they can surrender to the present when performing it. That sort of forward planning is not an option here. So our rehearsal process has been more of an investigation of what variables we can control and what possibilities lie within the variables we have no control over at all. I’m sure the audience will surprise us every night, and as terrifying as it is, I can’t wait to watch it happen. 

Q: What has the rehearsal process been like as you work through this piece? 

A: I knew early on that we would need to invite guests into the rehearsal room to experiment with the audience participation. We’re a month into the process now and we’ve had at least one test audience guest at every single rehearsal, and that has been immensely valuable. I can’t imagine rehearsing it any other way- otherwise I’d be running around the room playing 60 people while also trying to direct, and for obvious reasons that would not have worked. I’m so grateful to the guests who have lent their time, energy and their brilliant minds to our rehearsal room so we can figure out how to provide some loose shape to each of the audience’s participatory moments. It’s also been fascinating to work with both Peter and Carey, who are two very different actors. Their approaches to the text are unique from each other, and while they have been learning so much from the other in rehearsal, we are finding two very different versions of the same play. That’s been an interesting part of the process as well. 

Q: What do you hope the audience gets out of the experience?

A: I hope that this play reminds our audiences of how important it is to hold each other. How important it is to really look at, really listen to, really be with someone. So much about our current world is so isolating. Most of us spend our time looking down at screens, and oftentimes looking up at what is going on around us is utterly overwhelming. But I think that these kinds of communal experiences, and the ability to really be in conversation with each other, are going to be essential for us in the coming years. I hope that audiences come to Every Brilliant Thing and remember that brilliant things are everywhere. Reasons to stay are everywhere. And if you’re having trouble seeing them, maybe start by looking to the people sitting right next to you. 

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EVERY BRILLIANT THING
By Duncan Macmillan with Jonny Donahoe

February 7-9, 2025
BNH Stage in Concord, NH

February 21-23rd, 2025
Winnipesaukee Playhouse in Meredith, NH

Tickets & more information: www.tkapow.com/productions/#brilliant

*ASL Interpretation will be available on 2/9. 

**Live music by local musicians begins 30 minutes prior to each performance. 

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