Have there been any specific challenges or funny/interesting stories working outside and in the chapel?
Dana: It’s been pretty problematic working outside in the Battery because of all of the beauty of the surroundings. I mean, how is one supposed to concentrate on rehearsal with views like that all around? The Golden Gate, the bay speckled with sail boats, the occasional moonrise paired with sunset, the passing hawk. Very distracting!
Why BEOWULF now?
Dana: As a culture we still seem to be interested in many of the major themes of the poem, namely good vs evil, and grappling with our own mortality. Particularly in the last few months many of us have been wrestling with the construct of duality, the notion of “us” against “them”. In Beowulf, the poem, the lines of distinction are very clear. Now, and in our production, the lines are not so clear.
Can you share a funny or memorable moment, anecdote, or quote from your experiences in creating BEOWULF?
Dana: This isn’t really an anecdote, but rather something I’ve really enjoyed about the process. I’ve so enjoyed witnessing how the musicians work. It’s as if they have their own language. Music is of course its own language, but then there is a whole other layer that is particular to these musicians and their collaborative process. They have have their own sign language system. They talk about “blorks”. I partly wish I knew their language and partly love that it’s magical and mysterious!
Check back to learn more about our other collaborators, and catch Dana live in BEOWULF- join us for this sensational world premiere’s Opening Weekend, Saturday March 18 and Sunday March 19! The journey begins at sunset, at San Francisco Maritime National Historical Park.
Photos: Lauren Matley and Maria Chenut