City of Glass

Based on a book by Paul Auster
Adapted & Directed by Edward Einhorn
Produced by Untitled Theater Co. #61

Nominated for: Outstanding Innovative Design, Gil Sperling; Outstanding Choreography/Movement, Patrice Miller; and Outstanding Performance Art Production

Photo by Arthur Cornelius

About the Production
Untitled Theater Company #61 is a “Theater of Ideas: scientific, political, philosophical, and above all theatrical.” Their post-modern stage adaptation of Paul Auster's novel follows a private detective down a rabbit hole of language and identity.

Director Edward Einhorn and Designer Gil Sperling talk about presenting this thrilling puzzler that challenged audiences to solve the mystery.

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What attracted you to this production?

Edward: I loved Paul Auster's book, and I felt I had some compelling ideas that would make it theatrical. I also appreciated the connection to the theatrical styles of Beckett and Ionesco inherent in the text. I approached Auster at a book event in Brooklyn, and he expressed interest in my interpretation. From there, it took another three years to bring it to stage.

Gil: City of Glass is a mind-twister of a story, designed to make one's brain hurt. I knew that video could be a very effective tool to create cognitive puzzles for the audience.

Photo by Arthur Cornelius

What did you want the audience to walk away with after watching City of Glass?

Edward: To me, the show was about what it means to be broken, and how to find language to express that. However, I feel that every good production has a myriad of interpretations, so the most important thing is for the audience to feel both emotionally and intellectually engaged.

What was your favorite part of working on this production?

Gil: Opening night - Paul Auster came to see the show and he liked it, and hung out with us after. Very cool guy.

Edward: I loved the people involved. All of them. It was a great pleasure to work with so many generous, talented people. It also happens that most of them were people I have been working with for years, some for over a decade.

Photo by Arthur Cornelius

What was the most challenging part of working on this production?

Edward: It was an intricate production, where every movement had to to planned precisely. It took a lot of time and work to get it all working--with made the eventual product all the more pleasurable. And, though this is a cliche in the indie theater world, we presented a huge, complicated, technical world on a minimal budget. Always a huge challenge.

Gil: Accomplishing a very ambitious design in terms of technology integration with a very tight budget and tech schedule. It was harrowing at times but we pulled it off!

What was the most rewarding part of working on this production?

Edward: The most rewarding moment was having Paul Auster and his wife come to opening. To our great pleasure and relief, they called it "amazing" and stated it "surpassed all expectations"

What was it like working with Patrice and Gil?

Edward: Patrice Miller has been a stalwart of the company for a number of years now, and she brings a deep knowledge of choreographic styles and theater history to her work.

Gil Sperling is endlessly inventive and intelligent about connecting the video to the themes and purposes of the show. And the company as a whole is an amazing collection of talent, each in their own specialty.

You can follow these artists on Twitter
Edward - @EdwardEinhorn