Jayne Decker Interview

By: Jagger Trouant

 

          As the winter season continues its painfully slow transition to spring, one cannot help but find themselves lost in the cold, bleak doldrums. In an effort to break this terrible enchantment sweeping New England, I requested an interview with the always smiling, wonderfully refreshing, high energized Jayne Decker. Jayne Decker is both an Instructor of Theater at the University of Maine at Farmington, as well as the Director of the Emery Community Arts Center. Here, she is presented the opportunities of teaching stage classes, directing student theater productions, organizing and creating events within the arts, and working with the Sandy Rivers Players and members of the community. Decker has enlisted such projects as a Commedia dell’Arte course, a stage fighting course, a zombie film course, and various self-written plays, such as Stars Falling, which won the 2002 Maine Playwriting Award. Some of her works recently presented include Jane Martin’s Keeley and Dew, Bruce Graham’s Coyote on a Fence, Shakespeare’s A Midsummer’s Night Dream, and now Shakespeare’s The Tempest; a fantastical, imaginative play reaching its completion- and one in which I had the chance to ask some questions about!

 

TROUANT: Hello Jayne! How are you? What kind of state are you in- being that The Tempest is coming up?

DECKER: I love the process of directing and the week before a show opens is especially exciting. Right now I am feeling the joy!

 

TROUANT: Is that different from other plays you direct? What are the emotion and excitement levels around this time?

DECKER: Well to start, when I direct, I always choose a play I love or want to explore in greater depth through performance. Then it’s getting to live with the script because of the amount of time that is needed to devote, and months of preparation and I want the students to have that real experience as well. That’s part of feeling the joy. So is it different? Every directing experience is different. Every cast that comes together makes for a unique experience. This one is different from the last two I directed in terms of a larger cast. In a small cast play there is more intimacy, and you have the same characters grouped together. In a large cast, I think many times there is more choreography involved and blocking, so that creates a different experience.

 

TROUANT: I wanted to talk a little about the process of directing. I suppose first and foremost, how intense is the directing? I realize that this project may be somewhat more elaborate than others, being that you are dealing with not only the cast, costume, and scenic designers, but also a choreographer and musician. What is that like?

DECKER: Well it is a complex and elaborate process, but they are people I have worked with before. Phil has composed for A Midsummer’s Night Dream, so we had shared that process previously. Bobby, who is choreographing the sprites, also was my choreographer for A Midsummer’s Night Dream, so these are people that I specifically asked to be involved. So I would say when you are working with other designers, make sure there is collaboration.

 

TROUANT: Do you have, over the course of this experience thus far, a particular moment in which you are most fond? Where everything clicked?

DECKER: Well I have to say one of my favorite scenes to have staged is that shipwreck at the beginning! That was just so much fun! Ever since I’ve wanted to direct The Tempest, I’ve always wanted to stage the shipwreck. I have to say that was a great scene to stage!

 

TROUANT: How did the plans for this production evolve? Did you go through various drafts for the set, or have to tweak parts of the text or change around prop pieces?

DECKER: Well, as you know I chose this last spring, I’ve lived with this script almost every day, in that I’ve carried it around with me. Then, if I have ten minutes where I happen to be waiting somewhere, I have my script in hand. Also, I’ve read multiple versions of The Tempest so I didn’t just stay with one edition. And I’ve had many discussions with Stan, who is the technical director and the scenic and lighting designer, and we’ve looked at drawings and we’ve discussed colors and concepts for particular scenes, and I’ve looked at costumes with Beth Dorr. It’s very important.

 

TROUANT: Aside from the script, what do you turn to for inspiration? If the play was in a lag, what brings you that renewed vision? Where do you draw your ideas from?

DECKER: Starting with the text and again reading the text and looking at it very closely. I also think of other productions that I’ve seen, or productions I’ve been in, as I’ve actually been in two productions of The Tempest. In terms of inspiration, it’s been on my list of plays by Shakespeare that I’ve always wanted to do. It’s an incredibly magical play and I love the environment.

 

TROUANT: Lastly, what do you do when this is over? I realize that the curtains never truly close for the people of the theater, so what happens for you whilst awaiting the next spring term? What kinds of productions are you looking at?

DECKER: I always have another play in my head- there is no rest for the weary! At the end of a play, I always have another one in my head- and that is as a playwright and as a director. When I think about what I want to direct I am always searching for plays that will intellectually and physically challenge my students. I think The Tempest has challenged some people physically and I love that. With the stage fighting we’re learning in Commedia, I love the physicality of the performance. So what will be next? The students will of course have a say in it. I turn to all of you to find what types of plays you want to do next. Also, I look to the strengths of my students and what we can potentially stage.

 

TROUANT: Alright, sounds like a lot to be excited about! Thanks so much for your time!

 

         And with that Jayne and I went in our different directions. As I headed out I immediately noticed the change in the air. It felt lighter and warmer- or perhaps it was I that felt lighter or warmer. Whatever the case I had learned some wonderful things, received such wonderful insights, and left with a smile on my face.