Dead End Ed is another of the company's altered states of reality, where tape recorders finish the sentences of those talking into them, deja vu becomes a cinematic phenomenon and characters find themselves named after other characters in T.S. Eliot's The Cocktail Party . Willamette Week spoke to Mouawad last week during a break from the chaos and clutter that usually surround a tech week. It was too long, and it was very text-based, almost becoming a narrative piece. So I started trimming Confessions, finally reducing it down to this one scene. But I've incorporated other elements from the text and have distributed them throughout Dead End Ed .
Development is continuous.
I see you're using a revolving set of four rooms for this piece. The character of Ed is moving through a world that's not stationary, that can't be fixed. It will be a twisted version of the scenes in Les Enfants du Paradise, where Jean-Louis Barrault is walking, and the scenery behind him is moving. This will be more kinetic, like the choreography I developed for the Foreman pieces, in that I use the set architecturally to choreograph how the actors move through it. It also comes into play with the text work.