Spotlight on the Artist: Robert Lee

How have you approached working on this play?

I like to say that the play is about a brilliant list. But it is about Kayla’s journey and how her relationship to the list changes as she grows. We decided that Kayla’s character invited everyone into the space so that she could get this story out, to exorcise it from herself. And the people in this space are the people she needs to do this. She’s chosen YOU to be here to help her get through this. Everything about the space is designed to make it as comfortable as possible, welcoming. And it is uniquely Kayla. This is HER story.

What has been your favorite part of the rehearsal process?

Getting to create a deeper connection with Kayla has been incredibly rewarding. I love the director/actor relationship, but with a one-person show that connection must be deeper – the show needs it. This trust is essential. She is a kind and empathetic person and as a performer she is focused and willing to take risks. Working with Kayla has been my favorite part by far.

In what ways has this show challenged you as a director?

It challenged my patience. When I land a directing project, my impulse is to dig in deep immediately. But that was not possible for this project. I tried! But every time I tried I knew I wouldn’t have any answers till I knew who the actor would be. I knew the piece has to look and feel like them. So, I had to wait. Which was incredibly hard for me. The only decision I made before casting was that this show would be in the round.

When did you start doing theatre? What was it that drew you to this art form?

I started in college, well halfway through college. I majored in graphic design, then studio art, then creative writing before I took an acting class. I quickly fell in love with the people doing this art form. I had always felt I was an artist, but I didn’t find my medium until I found theatre. And it was the people, and the necessity of collaboration. I love the artistry that comes in the process. And I love the explosive nature of the final product, in that every performance is dangerous in a way, and when the run is over it’s all gone.

What has been one of your most memorable experiences at Duluth Playhouse?

I started working with the Playhouse when the first Underground Theatre was opening and conversations about restoring the NorShor first started in earnest. Over the next few years I ran the Underground, started the Playhouse TYA and watched the NorShor transform from a crumbling nearly condemned building with a stripper pole into the gorgeous restoration it is now. Duluth Playhouse gave me a deep connection and belonging to the Duluth community. It made me a Duluthian.