BLOODSTONE THEATRICAL was founded on Long Island’s East End in the summer of 2011 by director Bill Burford and a group of actors to explore new ways to interpret and play character.
One aim has been to foster actors’ ability to intuitively and independently develop compelling characters for audition and performance, whether or not they have time to prepare or substantial input from a director. Another aim has been to try out ways to experience and engage one another in performance using new techniques (see Centers & Realms) to enrich physical characterization, better specify dramatic action, and make influencing one another more palpable for players and audience alike.
By fall of 2011, a workshop series was established at Chelsea Studios in Manhattan that continued into mid-2016. During that time, Bloodstone mounted readings of classics using techniques developed in the workshops. In 2015, the company produced Night with Guests by Peter Weiss at the New York International Fringe Festival, adding physical theatre portrayals and live underscoring to the company’s performances. In 2016, Bloodstone presented West of Roan’s The Sealskin in Sag Harbor, NY, an original shadow and puppet play with traditional music based on natural and musical spells.
Bloodstone aims to:
a) use traditional stage techniques to elicit connection with older, pre-conceptual, more directly intuitive parts of our psyches
b) ground the embodiment and voicing of character portrayals using seven physiological centers of intelligence as a ready guide to the operations and evolutionary stages of passion
c) tour and compare notes with others on theatrical stories that use emergence, nested intelligences, and other kinds of natural energy patterning to produce illuminating spells in performance.
BILL BURFORD freelanced as a stage director for many years in New York, California, and his native Texas. In Sag Harbor, NY he served as general manager for Bay Street Theater, a LORT C company producing shows with leading West End and Broadway artists. At Bay Street he also taught playwriting, and helped Emma Walton Hamilton establish a still-outrageous playwriting residency for teaching middle and high schoolers. At the Strand Street Theater in Galveston’s historic district, Bill produced and directed new plays, classics, musicals, revues, and presented music, theater, and dance. He also developed a creative process program for youngsters there, and curated an ongoing art film series. More recently he produced and directed Peter Weiss’ rarely seen Night with Guests at the New York International Fringe Festival. He directed Je Christine, translated and adapted by Suzanne Savoy from the works of international poet, writer, and women’s advocate Christine de Pizan (1364-1429), a show now touring out of NYC. He has also taught playwrights through Stony Brook University’s MFA Creative Writing program in Southampton and Manhattan, and most recently at the Guild Hall of East Hampton, NY and independently in Belfast, ME. He collaborated at Dumbo’s Brooklyn Pearl studio with Trevor Vaughn, Omar Zubair, and other cultural BASE jumpers on The Shake-Up, a podcast series re-imagining mortality and the supernatural in Shakespeare’s plays. A member of the national Society for Directors and Choreographers, lately Bill directed Eric Micha Holme’s new play Falls for Jodie – a study of John Hinckley’s path to gun violence prior to his attack on Ronald Reagan – for the John Drew Theater at Guild Hall in East Hampton, NY, and in spring of 2020 directed his own adaptation of Ibsen’s An Enemy of the People for Midcoast Actors Studio in Belfast, ME. His direction of Lucas Hnath’s Doll’s House Part 2 for New York’s Hampton Theater Company is waiting in the wings for a cue from COVID19, and he starts rehearsing his own Lady Odivere for tour in New England, as soon as the infectious dust settles. These last three, very different plays are all set in Norway. Something odd about that.