Back in July 2022, Emile asked me how I would approach staging this apocalyptic play within the given parameters of this Festival. We aren’t allowed a set and we can only bring minimal props. So, first I thought of bringing the audience onstage to alter the shape of the playing space and to create the cave. But then I thought: no, not with current Covid practices in place. So I sat with the script some more and read a piece of dialogue suggesting there were bodies leftover in the cave. And that sparked an idea: what if we used an Ensemble to represent those who lived in the cave before? These would be the “ghosts of civilization.” But how would we establish their presence without upstaging our Leading Players? And I was reminded of the ensemble-driven work I did on the practices of Tadashi Suzuki.

“The principle concern of the Suzuki Method is with restoring the wholeness of the human body to the theatrical context and uncovering the actor’s innate expressive abilities. Attention is on the lower body and a vocabulary of footwork, sharpening the actor’s breath control and concentration.” And through such disciplinary practices, Suzuki had tens of people moving in-sync together across the stage, creating tempo and tension in the theater.

And that was my proposal: to cast a “Suzuki-Inspired” Ensemble that would create the shape and atmosphere of this cave. And not only would they create cavernous formations and the famously referred to “spirals,” but they would also create the sounds of this grotto, whether it be from the Suzuki marches or from tongue-clicks to replicate the water dripping from stalactites.

And now that the stage is set with our Ensemble endowing the atmosphere of these apocalyptic circumstances, we have an EGG. What do you think is in it? I hope you will leave this show with strong opinions and that it will invite compelling conversation. This piece presents tremendous circumstances, but I’m sure you will find its relevance. It’s political, it’s high stakes, and it’s enthralling.