Best Director: And best Soviet director

Mark Jackson, The Death of Meyerhold

How many people who say “But what I really want to do is direct” would still feel that way if they realized how daunting it is? From the moment directors read a script, they are thinking about how to make the story real using space, sound, and visuals as well as actors. Directors have to think creatively about the constraints of their site, budget, and schedule, articulate their vision to designers and cast in a way that works, and stay on top of the process all the way through. Art Street Theater’s Mark Jackson had all that to contend with, but at least he didn’t have to puzzle out what the writer of his play had meant — he also was the playwright. Instead he had the challenge of figuring out what the life of virtually unknown Russian auteur Meyerhold had meant, learning an unfamiliar theatrical vocabulary (Meyerhold’s Biomechanics), and leading a large cast of Shotgunners, old and new, smoothly through both. Which he did in tremendous style, creating a three-hour stage event that audiences and theater workers will be talking about for years to come.

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