This lovely memory-play posed a wonderful challenge to find my 'way in'.  There is abundant realistic detail regarding household business (knitting, making soda bread, turf stove, etc.),  which I worried might prove a distraction.  There is also a terrific element of theatricalism, in that, the narrator speaks the part of his child-self, but never embodies him; the boy is invisible to the audience.  (I recall seeing a production in which Kate brought the boy a spinning top and left it on the bench.  It never moved (of course), and was oddly distracting.)

I allowed this very theatrical aspect to inform my overall production.  Props and scenery were for the most part invisible as well (real knitting needles, but mimed yarn, grocery bags but mimed groceries, etc.), keeping the focus firmly on the characters, as well underlining this as a memory-play.   Scenic elements and properties continued to diaappear  as the play proceeded, foreshadowing nicely the journey of the play in which, inevitably, many of the characters disappear.  It was staged in tennis court arrangement, allowing for a very fluid use of space.  

This production was accepted to the Kennedy Center American College Theatre Festival Region III in Michigan. 

“I waited 1:45 in line and was the last one in, but it was worth every minute of the wait.  The work of every one of the students was wonderful and I thought the sense of family and connection was palpable and just beautiful... Congrats to you for such a fine and sensitive directing job ...  That last monologue had me weeping like a baby.”
                                                                                   ~ John Mariano, UW-Green Bay 

Photographs courtesy of Don Lintner

Scenic Design - Jody Sekas, Lighting Design - Chris Payne, Costume Design - Darice Damata-Geiger, Properties Master- Kevin Duffy, Hair & Makeup Design -Mikayla Durkee, Dance Choreography - Brenna Kempf