Pynn's first brush of beauty comes in the way she describes the train. It takes only a sentence of stage direction, but with it, she makes all the difference. The concept of unseen passengers, save for our two players, works to a director's advantage here, same with however spare and bare the design of the subway car fairs. Many people are interested in exercises and experiments involving a lack of dialogue, but this piece tends to the gardens of innate, passing, and brewing kindness; so, every smile from the actors, no matter how big or small, is the whole point.
Pynn's first brush of beauty comes in the way she describes the train. It takes only a sentence of stage direction, but with it, she makes all the difference. The concept of unseen passengers, save for our two players, works to a director's advantage here, same with however spare and bare the design of the subway car fairs. Many people are interested in exercises and experiments involving a lack of dialogue, but this piece tends to the gardens of innate, passing, and brewing kindness; so, every smile from the actors, no matter how big or small, is the whole point.