I ventured up to Brewster, New York on the Harlem line and was met by the Friendly SPACE team at the train station. We drove about ten minutes away, through a kaleidoscope of tree scapes, bragging of burnt orange and yellow leaves. Exiting the city, I remembered it was fall. Thus began my descent into SPACE, a place with a mission statement that holds true — a just-out-of-town playground for exploration, a space to create amongst nature, with other artists and a warm fireplace and home cooked meals to boot. I felt like I stepped back into another era; what I’d imagine it was like to be an artist in the earlier half of this century, before everything was over institutionalized and power outlets only had two prongs.
I spent two days doing a massive re-write, drinking Stumptown coffee (also appreciating the comforts of this era), working into the AM hours with the help of insightful director Tamara Fisch, while occasionally bothering Janine Nabers and Sharon Kenney as they worked on their musical about Scott Chaloff. (That’s a joke. Their musical is top secret business, but I have their songs in my head).
The following saturday, a cast of incredible actors in Marcia Debonis, Dan DaSilva, Matt Stadelmann, Dylan Dawson and Molly Ward joined me up at the farm, all of whom contributed to the play which deals with the universal question of family — how much do we have to separate in order to grow? How does one become an adult? That is the question I pose as the Hauser family deals with their 25 year-old, 300 lb., troubled son who lives in the attic and refuses to come down.
We read the play in front of a fire, well into the night, occasionally passing along a communal bottle of whiskey. You could give me all the riches in the world, and I’m not sure it could get better than that.