In order to be subversive and challenging, you've got to scare a few people away.
by Mack Gordon
With pupils so wide you can't identify its iris, Rosemary descends the stairs to an unknown sub-basement in “Rosemary's Baby.” Danny Torrance rides his big wheel down the hall in the Overlook Hotel while Stanley Kubrick's steady cam follows. Nosferatu's shadow approaches while the mirror gazing backwards sees nothing. This is horror to me: slow, threatening inevitability.
I don't fault any of the granting agencies that said we couldn't pull “Debts” off. It was hard. We had limited time and limited resources to, essentially, make magic happen. The first incarnation of the show called for a talking pig, after all. Some of our 'set pieces' (the film term, not the theatre) didn't work. Some of them worked magnificently. The show as a whole started calmly and built to the slow, threatening inevitability that I had envisioned. It surpassed that and dropped audiences into chaos and took them on an hour long thrill ride that was half carnival haunted house and half sophisticated theatre piece.
Debts runs from October 17-November 3