Producing “Invincible Summer” for the Stage, Part One

It took a long time to get here.

We did a Zoom reading in 2021. We had a production scheduled in late 2002, and began rehearsals over the summer. But they the theatre changed their mind and canceled our production.

We had a production booked in another theatre in June 2023, but the deal eventually fell apart.

Late in 2023, we received word that the Hole in the Wall Theatre in New Britain, Connecticut wanted to produce the play. I was excited about the possibility, but leery–when is the rug going to be pulled out from under us this time?

But that didn’t happen. I guess the fourth time’s the charm. Well, fifth actually, because “Invincible Summer” was accepted into a Brooklyn, New York theatre festival which was going to produce the play …in summer 2020. So, no.

Through all of that, the director of the Zoom reading (Dana Sachs) stuck with the project and was instrumental in getting to the Hole in the Wall Theatre. His wife, Cynthia Parisi, acted as our stage and prop master, and worked closely with Dana, myself and the cast to ensure the vision we wanted was presented on the stage. And most of the actors from that Zoom reading–Mark Gilchrist, Christie Maturo, Allan Church, Frank DiCaro, Elizabeth Harnett, Lois Lake Church, Jerry Rankin, and Valerie Solli–all stuck with the play through its ups and downs and the false starts. Every time Dana went to the cast and said we’re doing “Invincible Summer” they were in.

Our production was scheduled for early May, so in March we began devoting our Saturdays to rehearsals in Dana and Cynthia’s living room. Dana very generously allowed me to be a part of every rehearsal, which gave me a chance to get to know the actors, but also to pay attention to how Dana works. I learned a lot watching his approach to the material, his vision for the play, his instructions to the actors, and his ability to successfully guide the cast through the production.

I also enjoyed discussing the characters and the story with all of the actors, and learning what they were bringing to each of these characters. So many of the actors had great suggestions, thoughtful questions, and I did my best to be open to any ideas or changes they might suggest. I really fell in love with the collaborative aspect of producing the play. Writing it is such a solitary experience–but working with Dana, Cynthia and the cast to make this the best possible show was exhilarating.

Everyone worked very hard, but we also laughed a great deal. I took that as a positive sign. I did not perceive it as a sign the cast were not taking it seriously–it was a sign of camaraderie, and evidence the actors were enjoying themselves. I also noticed that lines of dialogue were playfully finding their way into the ordinary conversations between the cast members. I asked Mark if that was common during rehearsals, and he confirmed that it was–but only if the actors are enjoying what they are doing.

My favorite example of the cast’s morale was a prank they pulled on Dana. Dana informed the cast that they would need to come to the following week’s rehearsal wearing the costumes they had chosen for their characters. The following Saturday, the cast arrived at roughly the same time dressed like this:

I already knew the cast was talented and hard working, but one thing was abundantly clear–they are just great, fun, people.

I couldn’t have asked for a better company. And after nine weeks of rehearsal…it was showtime.