Lemons Lemons Lemons Lemons Lemons by Sam Steiner,
Directed by Mary Frances Candies
For his BFA Senior Thesis, Ryan collaborated with director Mary Frances Candies to produce Sam Steiner's Lemons Lemons Lemons Lemons Lemons at the Carnegie Mellon School of Drama. Ryan helped pitch the play to the Lab Review Committee who select the School of Drama's season, and then was a key part of the production team throughout the process. Along with Candies, he helped facilitate and provide assistance in the design process, did deep scrip analysis, wrote a marketing blurb and program note, and held a talkback. In-depth details on his work are provided below.
Production Team Director: Mary Frances Candies Dramaturg: Ryan Dumas Scenic Designer: Sarah Delaney Boyle Lighting Designer: Alex Talbot Costume Designer: Natalie Burton Stage Manager: Claire Farrokh Assistant Stage Manager: Alexander James Friedland Production Manager: Emma Reichard Assistant Production Manager: Charmaris Darias Cast BERNADETTE: Ava Yaghmaie OLIVER: Arthur Langlie |
Marketing Blurb
Ryan wrote the marketing blurb for the production, which was used in season marketing materials. It reads as follows:
“I can’t know you in one hundred and forty.” “Try.”
What is the value of the spoken word? When our ability to communicate verbally becomes restricted, how can and should we connect with each other? In a world where humans are restricted to speaking 140 words per day, Bernadette and Oliver must come to terms with how this regulation affects their lives and relationship. Lemons Lemons Lemons Lemons Lemons asks us how far we’ll go to tell our loved ones what matters.
“I can’t know you in one hundred and forty.” “Try.”
What is the value of the spoken word? When our ability to communicate verbally becomes restricted, how can and should we connect with each other? In a world where humans are restricted to speaking 140 words per day, Bernadette and Oliver must come to terms with how this regulation affects their lives and relationship. Lemons Lemons Lemons Lemons Lemons asks us how far we’ll go to tell our loved ones what matters.
Script Analysis
Lemons Lemons Lemons Lemons Lemons is written non-linearly, flashing backwards and forwards throughout Bernadette and Oliver's relationship in a series of vignettes. In order for the team to get a handle on the script, so they could clearly know the intricacies of the play in order to begin design, and then rehearsal, Ryan engaged in and completed several analytical exercises.
With Candies, Ryan combed through the script to discover that it was comprised of 87 distinct vignettes, each occurring either before or after the Hush Law is enacted. He then began to look at the lengths of individual vignettes, in order to help understand the flow of the piece. After these exercises, Ryan constructed a timeline of the piece, containing each vignette's number, length by number of lines spoken, and whether or not it occurs before or after the Hush Law. This timeline was displayed in the rehearsal room throughout the proces.s.
In doing this, Ryan discovered that Lemons essentially has a three-act structure. Part One includes scenes 1-41. While moments in Part One occur after the Hush Law, most of Part One takes place before the Hush Law is enacted. Part Two includes scenes 42-49. Part Two occurs essentially in linear time, beginning with the morning of the vote on the Hush Law, and ending after Bernadette and Oliver return home on the first day the Hush Law is in place. The one moment that occurs out of time is scene 48, which shows us the day Oliver and Bernadette meet. Part Three includes scenes 50-87. While moments in Part Three occur before the Hush Law, most of Part Three takes place after the Hush Law is enacted. Part Three is also where we have the "Lemons Scene" that gives the play its title.
During the Table Work portion of rehearsal, Ryan worked with the team to put the 87 vignettes into our version of "chronological order," which was put onto a timeline, also hung in the rehearsal room. Once that work was accomplished, Ryan created a second version of the script which put the vignettes into this chronological order. These resources were created to help the actors know where in their linear arc they were for each vignette.
With Candies, Ryan combed through the script to discover that it was comprised of 87 distinct vignettes, each occurring either before or after the Hush Law is enacted. He then began to look at the lengths of individual vignettes, in order to help understand the flow of the piece. After these exercises, Ryan constructed a timeline of the piece, containing each vignette's number, length by number of lines spoken, and whether or not it occurs before or after the Hush Law. This timeline was displayed in the rehearsal room throughout the proces.s.
In doing this, Ryan discovered that Lemons essentially has a three-act structure. Part One includes scenes 1-41. While moments in Part One occur after the Hush Law, most of Part One takes place before the Hush Law is enacted. Part Two includes scenes 42-49. Part Two occurs essentially in linear time, beginning with the morning of the vote on the Hush Law, and ending after Bernadette and Oliver return home on the first day the Hush Law is in place. The one moment that occurs out of time is scene 48, which shows us the day Oliver and Bernadette meet. Part Three includes scenes 50-87. While moments in Part Three occur before the Hush Law, most of Part Three takes place after the Hush Law is enacted. Part Three is also where we have the "Lemons Scene" that gives the play its title.
During the Table Work portion of rehearsal, Ryan worked with the team to put the 87 vignettes into our version of "chronological order," which was put onto a timeline, also hung in the rehearsal room. Once that work was accomplished, Ryan created a second version of the script which put the vignettes into this chronological order. These resources were created to help the actors know where in their linear arc they were for each vignette.
Dramaturgical Assistance in the Design Process
Ryan was present throughout the design process for Lemons Lemons Lemons Lemons Lemons. His structural analysis provided a way for the team to think about the progression of their ultimate design. He also worked to make sure that design choices would serve the play: helping an audience understand the non-linearity and complex rules of the world for the show, and upholding the truths of the show's characters and world.
Dramaturgical Casebook
Dramaturgical Casebook
Ryan created an online dramaturgical casebook/actor packet, meant to be utilized by the entire team (director, designers, management, and performers) to aid in their understanding of the complex piece that is Lemons. His casebook can be found here.
Program Note
Ryan wrote a program note for Lemons Lemons Lemons Lemons Lemons that was designed to introduce the audience to the idea of limiting speech to 140 words by asking them to consider the ramifications in their own lives, see what would happen if famous pieces of art were cut down to only 140 words, and by prompting them to complete an exercise Ryan brought into the rehearsal room. The full note can be found below.
lemons_pn_final.pdf |
Talkback
After the Thursday, April 4th performance, Ryan lead a talkback with the creative team/cast and audience. It was attended by 60 people, and lasted roughly 25 minutes.
Production Photos
All photos by Louis Stein.