In the second half of our chat with Blood Relations director Diana Lobb, she talked about gender roles: in this play, in the works of Pollock generally, and also in the production team. Read on!
Continuing our series of conversations with the Blood Relations cast and crew, we have Michael L. Davenport, the show's costumer, telling us about some difficulties of period pieces and the lengths one goes to solve them.
We sat down with Diana Lobb, director of our upcoming production of Blood Relations, to talk about the show and her vision for it. In this post she talks about Lizzie Borden, both the historical person and the character in the play.
It's not easy being a woman in the 19th century, particularly if your family thinks you're incapable of being a “lady”. Knowing the family fortune is being manipulated away, knowing her beloved birds were exterminated for being “a nuisance”, knowing there was absolutely nobody to trust, Lizzie Borden finally snaps — turning an axe against those who wronged her. Did she commit murder? Or did her parents end themselves?
Learn specific techniques for rehearsing and performing scenes of intimacy in a dramatic context. This work applies to a wide range of scenes including kissing, sexuality, flirting, familial bonds (for example, embraces between parent and child), connection between dear friends, scenes of sexual violence, and more.
