This was again a workshopped play, in the sense that the inspiration came from working with the actors around me at that point of time.  I had conceived of a play about relationships and people and secrets.  I had initially auditioned aa few actors and worked out a sort of a draft whcich was more comedy than drama.  It was about the pitfalls of being in love and relationships, taken in a light and somewhat farcical manner.  I had around me two other actors that I had worked with intensively on two previous productions.  Both these actors were going through intensive issues with their respective families and I myself was struggling with the problem of the idea of art, and it's purpose.  The play probably took about a year to workshop and write. During the course of which we performed other productions.   It took a turn towards being a serious suspenseful drama, the title of the play was taken from the religion of the fire worshipers. A tower of silence was the place that a Zoroasterian was placed after his death. I found the name poetic and appropriate for what I was writing. It almost seems that death was the only place where peace could be found.

 

Again I tried to create the ensemble quality in the workshopping and performance of the play.  This invariably became quite intense at times and probably because of this we had some trouble casting one of the parts, a particularly intense female character.  The first actress freaked out after the first reading and left never to be heard from again.  A second girl came along who seemed to be perfect for the role but ended up not doing it for a variety of reasons, and not even returning the script that we sent her.  A third actress quit after about two rehearsals and came down with her expatriate boyfriend to tell us she wanted out.  The fourth one clicked at last, she was a singer working in Singapore.  She was Thai by birth, however her adoptive parents were Swedish, she was also trying to make sense of certain things in her life, which she was able to utilise for the part.  She was not the most hardworking actress though and frequently forgot lines, the result of which the cast sometimes had to improvise around the dialogue until she remembered.

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This was not the only problem however, the intensity of the play had a huge effect on the leading actress who was so tramautised one night she refused to come out after the interval and the audience had to wait for about twenty minutes which made them understandably somewhat unhappy.

My technique of having the actors dip deep into their experiences for their acting performance had therefore its good and bad nights.  One can take Method rather too far.

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The production itself also involved a somewhat more elaborate set than what I usually used.  Namely a number of television sets that were used to broadcast images recorded from hidden spy cameras.