This presentation of two one-act plays by Peter Shaffer tells two tales of intrigue and comedy. The White Liars tells the story of a psychic and two clients, one of whom conspires to read the other a false future; but the psychic gets more than she bargained for when she discovers the information she was given is not quite what it seems. Black Comedy is a satirical piece about a starving artist who steals furniture from his neighbor in order to impress his fiancée's father; events turn chaotic when a blackout interrupts the visit.Michelle Kuchinsky '12, who directed both performances, was able to e-mail justArts about the successes and challenges of putting on the production. After a well-received opening show on Thursday, a solid Saturday night performance and a tiring yet rewarding Sunday consisting of both a matinee and evening performance, the cast and crew are relieved to be done and glad that they could participate in this experience.

JustArts: The White Liars and Black Comedy just finished its fourth and final show on Sunday. What's the first thought that comes to your mind?

Michelle Kuchinsky: I'm sort of still running on the high that came with the final show. I think the last performance was actually the perfect culmination of the project on every end. The audience seemed really into it and the actors fed off of that energy to make it their best performance.

JA: What is your role in the production? What do you do and who do you work with?

MK: Originally, I chose the show and the production staff. But throughout the process, I ran rehearsals, worked with the actors on developing their characters, and met with the various designers to make sure everyone's visions were cohesive.

JA: How long has everyone been working on the play? What has the rehearsal process been like?

MK: The designers have been working since this summer. The actors have started rehearsing since the second week of school. The rehearsal process has been a great one. As both of the shows are a bit silly, sometimes the actors would break into fits of laughter or song, but the show must go on!

JA: Can you talk a little about setting up the stage and collaborating with the light and set designers?

MK: I met with the designers periodically to collaborate all of the individual designs. The set designer, Meryl Feinstein '12, and I met more toward the beginning, because a lot of the blocking (stage movement) was dependant on the setup of the stage.

The lighting designer, Robbie Steinberg '13, and I met a couple of times but solidified things more towards the end when the actual lighting would be incorporated into the show. The reversed lighting scheme was clearly an unorthodox approach, but I think it was appreciated.

When it came time for tech week, they each took turns putting their designs in place for the show.

JA: What are some challenges you have come across as director of The White Liars and Black Comedy?

MK: Arranging the actors on the stage in a way that would collaborate with the specific blocking and lines that the author had delineated was sometimes a challenge. This was especially true due to some of the changes we had to make to the stunts outlined in the script as well as changes in the nuances of the set.

For example, the actors might not have always been in the exact places that the author had outlined, and therefore certain lines would not have worked. We did have to take some time to rearrange blocking and ensure a cohesive piece.

The production staff also encountered a number of difficulties with the set as we were sometimes afraid our expectations were set too high.

JA: What was your favorite aspect of directing a play like this?

MK: I loved working with the actors to create some of the priceless moments that ultimately were solidified on stage. I also loved working on such an upbeat show to create what, for me, was a very fun, enjoyable process. The best part, though, was definitely all of the wonderful members of the cast and crew with whom I had the tremendous pleasure to work!