Rick Lombardo, Artistic Director
Brooke M. Haney (BMH): Why do you have a commitment to new works in your life and at San Jose Repertory? 
Rick Lombardo (RL): The organizations, non-profit theatres, have a responsibility to take care of our audience and of the American Theatre. Cultivating new work is part of the job, if we fully embrace it. So, we need to make a commitment to nurturing new voices. If we don’t, there won’t be new voices. Theatre will become passé. Audiences won’t see themselves in the plays. Classics and Modern Classics are great, but people want to see themselves in the lives that they see on stage.
One challenge we are facing is the tight budget in this recession. That is probably having an impact on play development and level of risk that theatres are willing to take on. For example, we are not producing a World Premiere this season, we did last season, and we will next season. This is not an artistic choice, but the environment that we’re in necessitates it.
BMH: I did notice that you are doing the Regional Premiere of Sonia Flew. What is important about Regional Premieres?
RL: Unfortunately, often once the World Premiere is over, no one is doing the 2nd , 3rd , and 4th productions. Especially if a play doesn’t go to Broadway and get that stamp of approval. What about the really good plays that need that second production? So, we have a commitment to those as well.
The Regional Premiere of Sonja Flew
BMH: What is the Actor’s role in developing new works?
RL: In a workshop, we are not always looking for Actors who are perfect in every way for the role – type, spirit, intelligence. Type is least important and intelligence most important. Truthful acting easily and quickly is invaluable. There is never enough time with a new play, so if you can cast the workshop perfectly, if you can hang onto the same Actors from the workshop, it is very valuable. In a workshop, the Playwright needs to hear the play, not see the play. We need Actors who can speak on behalf of the character. “This moment strikes me as wrong…” Being able to talk about that in a smart way.
BMH: How do you approach a World Premiere?
RL: As a Director, it is an enormous responsibility to give the playwright their play, not my vision of their play. They might have a specific type in mind. I’ll take more risks with a classic play or a tried and true modern classic. We’re still saying “This moment doesn’t work for me…” We never move past that until opening night. There can be a lot of people with their ideas. So, the Actor’s job is to try to make every thing true. If a good Actor is struggling with that, then it is important information.
If you are lucky enough to have a Dramaturg, it changes everything. They are the ally of the playwright or at least the advocate of the play. Actor is the advocate for the character. Most often though, of financial necessity, the Director often has to function as Director and Dramaturg.
BMH: How do you set up communication in the rehearsal hall?
RL: I make it really clear that I want the writer and the Actor to talk to me. I’m perfectly happy to be the go between. Most writers don’t know how to direct. Actor’s don’t always understand the sensitivity of the writer. I’m the ambassador. What isn’t working?
BMH: Do you have any last tips or thoughts for Actors when approaching a new work?
RL: I advise new Actors: First observe. There really is an unspoken apprenticeship. See how the more experienced Actors in the room are handling communication.
Rick Lombardo (ARTISTIC DIRECTOR) is in his second season as Artistic Director at San Jose Rep, where he directed The Weir and As You Like It. He was previously the artistic director for thirteen years at the award-winning New Repertory Theatre, the leading midsize resident theatre in the greater-Boston area. Last spring, he was awarded the Norton Prize for Sustained Excellence from the Boston Theatre Critics Association for his work at New Rep. He has also been the recipient of four individual Elliot Norton Awards and is a nine-time winner of the “IRNE” Award for his productions of The Clean House, Sweeney Todd, Rosencrantz and Guildenstern are Dead, A Streetcar Named Desire, Ragtime, Waiting for Godot and The Weir. His world premiere of According to Tip transferred to Boston’s theatre district last fall. His New Rep production of Bill W. and Dr. Bob enjoyed an extended run Off-Broadway in 2007. In the New England area, Mr. Lombardo also directed at Opera Boston, the Wellfleet Harbor Actors Theatre and the Actors Shakespeare Project, among others. He was previously the Artistic Director of the Players Guild in Ohio, as well as the Founding Artistic Director of the Stillwaters Theatre Company in New York City. He was the Co-Director of the theatre program at Fordham University’s College at Lincoln Center and is a member of the Society of Stage Directors and Choreographers. He lives here in San Jose with his wife, actress Rachel Harker, and daughter.
The Actor's Role in Developing New Work 