Meet Meron Langsner, who wrote our previous production, Burning up the Dictionary (IRNE-nominated for Best New Play – Small Theatre), and one of our two fight directors for Supergravity and the Eleventh Dimension.
What has been your favorite thing about working on the play so far?
Being able to construct a wide range of movement, both abstract and naturalistic. Also, different types of stage violence from serious attacks that happen in anger to light and playful, to what I guess I might describe as rough foreplay. Also, it’s great to reconnect with many of the same people from the creative team of Burning Up the Dictionary in another context.
What do you think is the most challenging thing about your design for this show? Why are you looking forward to making it work?
Making some of the more abstract moments work alongside the naturalistic ones. I’m also very interested in seeing how the moment where Carmen flies develops, especially as we’re currently talking about working in a technical illusion with it.
Have you ever been fascinated by a certain aspect of science?
I have a fascination with physics. Classical mechanics, quantum physics, astrophysics, you name it. I read lots of layman’s books on the subject and it influences both my choreography and my writing.
If someone were to read your fortune (a la Carmen in the play), what do you think it would say?
Well, they would know that I’m about to make some serious life changes, so I’d hope that they’d say good things about that.
What’s the weirdest way you’ve ever entered a building?
Be carried upsidedown by about a dozen of my fraternity brothers who were each restraining a different limb. There is more to that story of course, but you didn’t ask for circumstances.
Are you listening to any music to prepare for this show?
Mettalica. Before they got haircuts.