The Man Who Laughs
Welcome to another edition of Dream Play, wherein we ask directors and producers to reveal the plays buried deep within their breasts, what they might work on if cost, space, and rights weren’t an option. This week, we feature the cheerfully handsome Davis McCallum (he plans he looks better in miniature, but we distrust this). Davis McCallum directed Quiara Hudes’s Elliot: A Soldier’s Fugue at the Culture Project last season. He has two shows opening in NY in April: Jane Eyre for The Acting Company at Baruch, and West Moon Street for Prospect Theater Company at the Hudson Guild.
If eft to his own devices, Davis would direct…
Chuck Mee’s Perfect Wedding. I directed the third-year class at NYU Grad Acting in it last spring, and it was the most fun I’ve ever had doing a play. I am dying to get that same production a further life. I think it would be great in the Classic Stage Company space on 13th street, but it’s proven prohibitively expensive because it requires a cast of 21. The play is kind of loosely based on Robert Altman’s film, A Wedding, with a little bit of Midsummer Night’s Dream thrown in. We staged it in the round, under a big white wedding tent, designed by Tom Gleason. The play has a big mudfight at the end of the first act, and culminates in a huge Bollywood dance. I think it’s a mind-blowing masterpiece, and it’s regrettable that no one in NY but Lincoln Center can seriously consider a play with more than 20 actors.
I’d also like to do a site-specific adaptation of James Merrill’s Changing Light at Sandover, in a big dilapidated warehouse in Long Island City. I’d also like to a do a one-person show with my friend Qing-Yi, which would be in a funeral home parlour in Chinatown, and only performed for a dozen or so people a night. She’d serve tea.