An interesting inquiry came up both nights of Eclipse’s performance of Suzan-Lori Parks’s 365 Days/365 Plays. People wanted to know what was the difference between what was performed and what Parks wrote on the page.

In general her plays purposely leave a vast amount of interpretation up to the actors, directors and production team. SLP has an incredible amount of faith in the theatre practitioners to interpret the work and leaves them with a beautiful, poetic sketch of an idea left for the production to interpret it in their own unique and individual manner.

In Eclipse’s week of the festival some of the pieces were left to vast interpretation on the page and others were able to stay very much inside the lines of the script. For example in Into Temptation, Nat Swift, the director, chose to have the actors repeat lines although it wasn’t written that way. Thomas Jones, director of Father Comes Home from the War (Part 9), used only three actors instead of the scripted number. Whereas, A Round for Glenn Gould and Into This Wild Abyss were performed without taking bolder leaps on the interpretation of the script but were still beautifully performed. Neither direction is correct or incorrect, simply the beauty of having seven different pieces, written in one voice, directed by five different directors.

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