Artistic Statement
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Blair Cadden
Artistic Statement
Some things I believe:
I believe in the power of theatre because I believe in the power of stories. I feel strongly that human beings have a deep need for stories, and that this need is best met when we gather together to hear them, sharing the same space, breathing the same air.
I am drawn to stories that explore our human-ness in all of its messiness and magic. I am less interested in stories of clear heroes and villains than I am in stories of complicated human beings. I prefer plays that ask more questions than they answer, always aiming to tell those stories in a way that provokes an audience to keep thinking long after the house lights have come back on. I am interested in contemporary works and new play development, as well as ways to explore and explode old stories in ways that allow them to speak to us right now.
I have continually found that seemingly small, intimate stories—the ones I have nearly dismissed as insignificant—in fact have the potential to reveal large, resounding truths. And at the same time, I have found that ageless, archetypical stories have the potential to connect to each of us on a deeply personal level. I tend to seek out plays that live at the extreme ends of this spectrum—messed-up love stories unfolding in a single room, and epic myths unravelling across dimensions. In either case, I believe specificity of character and action is the key to revealing the universal, which in turns invites a personal connection.
I aim to prioritize our shared humanity not just in the stories I tell, but also in the process of telling them. I believe that every voice in the room is of value, regardless of official job titles. I also believe in the importance of good rehearsal snacks and readily available coffee.
I believe that the best work frequently happens when we engage with the things that scare us; in order to make this possible, I believe in the necessity of creating brave and supportive spaces, where collaborators can feel free to risk, explore, and play.
Much of my career has been spent making theatre in strange circumstances with limited resources, and from that I have become a huge believer in imaginative solutions over technical ones. I try to bring this flexible, scrappy sensibility into every process, even when resources feel abundant, to create a world that invites imaginative engagement from actors and audience alike. I believe this sense of community is the best gift theatre can give us, and I hope to create work that invites it.
I believe in the power of theatre because I believe in the power of stories. I feel strongly that human beings have a deep need for stories, and that this need is best met when we gather together to hear them, sharing the same space, breathing the same air.
I am drawn to stories that explore our human-ness in all of its messiness and magic. I am less interested in stories of clear heroes and villains than I am in stories of complicated human beings. I prefer plays that ask more questions than they answer, always aiming to tell those stories in a way that provokes an audience to keep thinking long after the house lights have come back on. I am interested in contemporary works and new play development, as well as ways to explore and explode old stories in ways that allow them to speak to us right now.
I have continually found that seemingly small, intimate stories—the ones I have nearly dismissed as insignificant—in fact have the potential to reveal large, resounding truths. And at the same time, I have found that ageless, archetypical stories have the potential to connect to each of us on a deeply personal level. I tend to seek out plays that live at the extreme ends of this spectrum—messed-up love stories unfolding in a single room, and epic myths unravelling across dimensions. In either case, I believe specificity of character and action is the key to revealing the universal, which in turns invites a personal connection.
I aim to prioritize our shared humanity not just in the stories I tell, but also in the process of telling them. I believe that every voice in the room is of value, regardless of official job titles. I also believe in the importance of good rehearsal snacks and readily available coffee.
I believe that the best work frequently happens when we engage with the things that scare us; in order to make this possible, I believe in the necessity of creating brave and supportive spaces, where collaborators can feel free to risk, explore, and play.
Much of my career has been spent making theatre in strange circumstances with limited resources, and from that I have become a huge believer in imaginative solutions over technical ones. I try to bring this flexible, scrappy sensibility into every process, even when resources feel abundant, to create a world that invites imaginative engagement from actors and audience alike. I believe this sense of community is the best gift theatre can give us, and I hope to create work that invites it.