Interview: Director/Producer James Paradise of A NUMBER at Madnani Theatre

Playwright Caryl Churchill shows us the world that’s coming in his play A Number which was first produced in 2002 as one of the earliest dramatic examinations of the possibilities and physical and moral consequences of human cloning, redefining what it means to be human and part of a family. As questions of identity, nature, nurture, and responsibility collide, the play turns a startling scientific premise into a gripping and deeply human family drama after the truth about a long-buried cloning experiment comes to light.

I spoke with the play’s director and co-producer James Paradise (photo courtesy of the artist) about what drew him to direct the play, his artistic vision for the production, and why now is the right time to ring it to Los Angeles.

Thanks for speaking with me James. As a playwright of dozens of plays for stage, radio and television in a career that spans nearly seven decades, along with acting Off Broadway and on Los Angeles stages as well as in film, television and commercials, what fueled your decision to direct and co-produce A Number in Los Angeles right now?

Damien Midkiff, who plays the three sons in A Number, studies with a renown acting teacher, Fran Montano, whom I have had the good fortune of directing twice on stage, resulting in multiple awards. Fran reached out to me and spoke of Damien’s desire to act in and produce, A Number, and that he was in need of a director!

How did you approach the complete lack of formal stage directions and specific settings in Churchill’s text?

Churchill’s lack of stage directions is so very cool and leaves the director’s mounting and interpretation of her work totally at my charge. Her lack of punctuation although initially a seeming distraction, is her guide, and establishes a rhythm for the play and the characters’ behavior… much like Mamet and Pinter in their work.

How does the minimalist physical space at the Madnani Theatre reflect the mental and emotional confinement of the characters?

The Madnani space is perfect for A Number… intimate, yet not claustrophobic, with just enough stage space directly in front of the raised house seating, inviting the audience to experience the heartbeat of the play and its character behavior up close… eyes on it!

Your co-producer Damien Midkiff (photo courtesy of the artist) portrays the sons of Salter in A Number. How did the two of you develop their individual physicality and personality without relying on simple caricature?

Well, relying on simple caricature is not something serious actors contemplate. As artists, attempting to take the page to the stage is the objective, and the process is the construction of common ground between the actor and director. The physicality and personality of each character/actor is developed within the parameters of the director’s interpretation of the play.

Who do you think holds the real power in the shifting dynamic between Salter and his sons?

That’s a tough one. We’re in rehearsals right now with our opening three weeks away, and so far, the power dynamic seems somewhat equal. Salter is a very complicated character who wields paternal power over his sons, while the three that we see can manipulate and intimidate Salter at their volition.

Salter (the father) is played by Michael Muniz Vodde (photo courtesy of the artist), while Damien Midkiff plays his sons. What advice did you give them about how you wanted them to interact while portraying all the characters in the play?

The initial direction I gave to both of our wonderful actors was that each son’s relationship with their father, Salter, is complex, and decidedly individual - and the reactions, explanations, and behavior between the father and his sons is the major dynamic that moves Churchill’s story.

How does this production balance the sci-fi concept of cloning with the raw, domestic reality of a failing father?

For me, those two concepts that Churchill contrasts with one another are the spine or theme of the play, and how as their father, Salter, adapts to each son and modifies his behavior accordingly.

How do the contributions from your creative team (set design by Jeff Rack, lighting design by Gregory Crafts, sound design by Nick Foran, and costume design by Michael Mullen) reflect your artistic vision for the production?

Everyone in our profession knows that theater and film/TV are collaborative mediums, and a script can only be successful by incorporating the creative contributions of the play’s different designers. As director, I always encourage everyone that I work with to utilize all of their creativity and experience with the understanding that I may, or may not, include their ideas in the final staging of the work.

Does your interpretation lean more toward nature or nurture as the dominant force in shaping who we become? Or do you leave that ambiguous for the audience to decide?

I don’t know yet…but I think Caryl Churchill’s brilliant writing will invigorate the audience to question the concept.

Are you planning to hold talkbacks after any performances to get audience feedback?

As of now, Damien and I have not discussed holding talkbacks.

What do you hope audiences will be talking about when they leave the theater?

I would hope that they felt entertained, and that their conversations explore the concept, and one of its possible outcomes, introduced by Churchill.

Care to share what’s up next on your calendar in the way of either producing, directing or acting?

I am always looking to move whatever I am directing to a larger venue. Manhattan, my hometown, would be my preference.

Anything else you would like to add about A Number?

I think enough said. Please all come see for yourself! Thank you.

Thanks so much!

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