RC3

RC: Yeah, I think the role of the therapist is probably one of the most difficult roles in my play, because she's the information agent. It's a very dry character. How do you draw that line of having this energy and be interesting when you can't react in a deep range of emotions because you're the therapist! You have to be in control. But she [Amy Hess] does miracles with that role, and does bring what I want--the energy and the life, the interest and the variety that wasn't there in the original script.

BST: Tell me something about the process of directing. How do you direct? How would you describe yourself as a director?

RC: (long pause) To the point. My notes tend to be on the negative side. I don't spend a lot of time reinforcing the positives because they're already there. It's the stuff that needs to be sanded and polished that I focus on--the details. But I do try to reassure my cast that they're all good and talented and the reasons why I give negative notes is because [otherwise] I'd spend all my time giving positive notes--and I can't write that fast. I would also say that given enough rest and time off, I'm fairly organized on what I want and expect from people. I'm also a person who likes to be liked by other people, so it's very hard for me to be critical of other people. But it's very necessessary. It's hard holding that mirror up here.

BST: By that same token, would you describe yourself the same way as a writer?

RC: Um, no, I don't think so. As a writer I'm putting stuff out there that's very honest and direct and people can take it or leave it--that's not really going to worry me one way or another.

BST: It's funny, because they are two very different things. Would you say that you preferred one over the other--that you preferred directing to writing, or vice versa?

RC: I like them both, but I think...I hate writing, but I'm very good at it. It's the translation from my head to paper that I find difficult. I'm very much a mood person. I have all these moods in my head that I try to create a scene for. So it takes a while to figure out how this is all going to weave together in a big picture. And I've got some things that I consider gems that I can't fit in the play because they don't really belong there. They may be very fun, but save 'em for another show if that happens.

BST: What kind of responses have you gotten from your "test audiences?"

RC: "I can't believe the first act was an hour and a half long." I wrote the play intending it to be an hour and a half total; it runs almost two and a half hours. I know I'm not bored watching it, but I'm not an objective observer. So I've counted on some other people--who aren't necessarily [there as]friends, but have theater backgrounds [and can] come in and critique. It's been very valuable to help me see my play more objectively, and trim the fat.

BST: Would you say it's a very fast play?

RC: Yeah. It's the type of play where you're hearing things in a way that you don't hear very often. Things that you would like to hear, things that people probably think a lot in their heads but don't have an outlet for. I think [the audience] will be captivated from beginning to end.

BST: And here's the question I hate the most: Would you say that there's any kind of a message here with Stiffy?

RC: Yeah, there's a message. Take responsibility for your actions. You are in charge, ultimately, of your destiny.

BST: Would you say you've taken your own advice with writing and directing this show?

RC: Oh, hell, no.

Ron's next show, "Oklahomo," will open during the 2001 Broom Street Theater season.