The production titled “Spotlight on Shanley: Three One-Act Plays” has finally made its
way to the stunning House of GCC Theater. This is a very special theater production this season,
as it has two director students, Grace Tamblador and Sharukh Khan, working alongside the
teacher and director, Jeremy Lewis. Danny and the Deep Blue Sea, Tennessee, and Welcome to the
Moon are deep psychological plays written by award-winning playwright and screenwriter John
Patrick Shanley.
The author was born in the Bronx, New York City, in a rough neighborhood. Shanley has
authored over twenty-three plays that have garnered global performances. He also wrote for
films. His work Moonstruck won three Academy Awards. He draws significant inspiration for his
plays from his personal experiences and circumstances. “Spotlight on Shanley” presents three
one-act plays that tell the deep stories of young people struggling in the real world with the hope
of finding the right path.
Dany and the Deep Blue Sea, Tennessee, and Welcome to the Moon combine the themes
of love, grief, escapism, life’s choices, and an unpredictable future. The stories about life and
mixed emotions intertwine in all three plays. The characters in the world of “Spotlight on
Shanley” encounter pivotal moments and inconvenient encounters that turn out to be significant
and life-changing. For some, it is a sudden, passionate encounter in a bar; for others, it is a
meeting with the lonely woman with the power of foresight; and for others, it is reconciliation
with an old friend and the uncovering of the old wounds. However, it’s undeniable that each of
these individuals underwent an internal metamorphosis, unaware that a single conversation could
fundamentally alter their entire life. They all share common pains of heartbreak, loneliness, guilt
for their past choices, and uncertainty about life. However, they all learn the meaning of knowing
the truth and accepting it. The people hold the puzzles about you. Sometimes, we need to
understand and solve those puzzles at the right time, when we are ready. Characters from
“Spotlight on Shanley” also learn these lessons.
Similar to the characters, the actors underwent constant transformation throughout the
journey of this production. Working on “Spotlight on Shanley” reminded me of the
transformation stages of a butterfly. Actors go through metamorphosis in each stage of the
rehearsal process, slowly building their characters and always evolving into the core vision of the
story. Like a caterpillar inching along its predetermined path, we began exploring our characters’
world, testing different approaches and discovering new layers. When does the rehearsal process start? Does the rehearsal process begin with reading the script? Yes, it certainly begins with
reading the script, but I can assure you that it never ends. Our process began with each actor
acknowledging a self-note to contribute to the production and show mutual care. Actors work
physically and mentally. But in the context of storytelling, actors’ work is mostly internal. There
were moments when, like a chrysalis in stillness, we had to sit with our characters’ pain and
vulnerability, allowing their stories to reshape us from within. We go through many stages of
ourselves while being in the process of learning and researching. As with any form of art, the
process of doing it evokes the stages of excitement, apathy, love, uncertainty, inner conflicts, joy,
high energy, low energy, and gratitude. I remember many breakthrough moments during
rehearsal when a simple line suddenly carried the weight of my characters’ entire world. These
are the moments when we feel our artistic wings beginning to spread. Observe the ambivalence
with which I have presented these examples. Indeed, this accurately reflects the reality of the
process. Actors literally go on a journey of self; they go through many waves of pursuing the
world of the character. In Shanley’s raw, emotionally charged world, this pursuit becomes even
more intense. His characters demand we strip away our defenses and embrace their unfiltered
truth. The passion for art drives this mission. This shift from the story’s emotional themes to
something more relatable for people’s eyes and hearts necessitates significant morphological
changes. Just as butterflies undergo a metamorphosis from inhabiting an oval space to
transforming into caterpillars, pupa, and finally flying as butterflies, the actors undergo a similar
transformation. Each performance becomes a moment of flight, where all the internal work, the
struggles, and the discoveries merge into something beautiful and transitory. It is an
unforgettable experience. Besides preparing for our individual plays, we had a valuable
opportunity to watch each other’s work and learn from each other. Everybody was very helpful,
and we laughed and cried together on our journeys of storytelling.
Personally, I had a pleasure in working with the student director Grace Temblador, who
directed Tennessee. This is the first time I’ve worked extensively on a theater production at
GCC with a student director. We embarked on a journey to develop a fresh outlook on the
creative process. Grace always made sure that her actors felt well and excited about the process.
Her approach to directing let us always try new things, and she would always let us express the
vision that we see as actors before building a bigger picture. She carefully considered her
rehearsal directions, guiding her actors to gradually uncover the essence of their characters.
Besides directing Tennessee, Grace was involved in a lot of work behind the scenes. She was
almost everywhere at once, managing numerous tasks during “Spotlight on Shanley.” She also
designed and drew the show’s poster and brought a lot of creativity and soul to the show.
We had a wonderful team of people who worked amazingly on stage and off stage to
create this meaningful and well-made production. The company was led by Jeremy Lewis, who
directed Danny and the Deep Blue Sea and was fully involved in mentoring student directors
Grace Temblador and Sharukh Khan and giving us, the actors, meaningful feedback. His
approach to the rehearsal and his wealth of experience in theater, film, and coaching for many
years made our journey fun and very elevating. Whether it is a group game before the rehearsal
or transformational feedback, it took actors and directors up a notch in our work. Jeremy is the
head of this show, who made sure we presented the best performances and strived for quality.
Melody Gunter, who worked on lightning design and technical elements, brought great
management during our rehearsal process and a warm touch of caring for all the people involved.
She was also working on different parts of the production and always brought a delightful smile
to each rehearsal, reminding us that enjoying the process is an important element. Sheldon
Peregrino, an amazing scenic and property designer, brought great work to the many elements of
the show. He put his work into the design of our stage, technical endeavors, and was an active
audience for us actors. We had an amazing AV technician who helped us build this unique vision:
Nathan Milisavljevich. He brought a huge help to the stage and to the people involved in a
production. Lisette Arias did a wonderful job managing her first production with “Spotlight on
Shanley.” She worked very hard and showed great dedication to the show. Our fabulous team of
run crew made sure our show has an organized space and everything moves at a smooth pace,
helping us actors and directors. Sajhal Bautista, Lucian Franciosa, Daniel Warren, Lacey Wolfe,
and Raneem Yassine played an important role in being there for us during the rehearsals and
performances.
I remember the day I went to audition for Tennessee, and now I am writing about my
experience being an actor in a theater production “Spotlight on Shanley.” I can say confidently
the process of creating the show, and every minute during the rehearsal is where all the adventure
lives. The performance time is the time for appreciation of the adventure you’ve been on and the
feeling of being the most alive. This is the moment you feel the most grateful. It is magic for the
actors, and it is the spark that we strive for. I would like to thank the playwright, actress, teacher,
and Professor Jeannette Farr for giving me this opportunity to write and share about my
experience during the production of “Spotlight on Shanley: Three One-Act Plays.”