Padraic Lillis: Incredibly vital. They have to be willing to work hard and commit to the process, because if I write the script then it won’t be their show. What I am passionate about is the directing aspect so I want to get underneath it the script and the story and listen to the story and the actor’s passion.However if the actor doesn’t listen, then it isn’t an enjoyable three hours. For me, do I want to spend time with this person and their personality? When you do a solo show, you are invested in the person as well as the story.

Douglas Taurel:  The most valuable thing Padraic you did for me and my show The American Soldier, was to ask me, Why. I had been working on my show for a long time and felt lost but once I knew the why, I had a clear focus to make the writing and editing easierThe editing was the hardest part because you are vomiting so much material that you don’t know what’s good and what’s not good. The why just crystalizes everything.

Padraic Lillis: You want the show to have an impact and you want the audience to learn and take away something from the show’s message.

Douglas Taurel:  Where do you find the most satisfaction when you’re directing the show? Do you find it in at the opening? Or is there a point in the rehearsal period where you’re like – this is going to be really nice. 

Padraic Lillis: I’m always excited early in the process when we discover what the story is really about and then the most exciting moment is when the play is in the rehearsal room doing a final run through. That’s when I’m most excited because you can’t control the audience but in the final run through the play is alive and it’s pure.   That’s when I feel the best.

Douglas Taurel: The audience does change things in a lot of different ways.

Padraic Lillis: The hardest thing for a solo person to learn is that the audience become their new scene partner in a very visceral way. They tell you what is landing and what is having an impact, which forces you listen to them.I love hearing the audience after a show talk about the experience with a show. The audience become an advocate for the cause of your show and they start to believe in why you are doing the show. That is when you know you are having an impact.

Douglas Taurel:  You hit it on the head. When I did the show in Houston which was almost after 30 runs, that audience was very invested in that show and they shaped the show in a very lasting way. I found moments that I thought didn’t exist. And after the show the response was so personal and intimate that I could definitely could feel the impact the show was having on them.How do you think solo shows have changed in the past 20 years?

Padraic Lillis: I think they have gotten simpler. The simpler the show is, the easier it is for you to travel with it and perform it in as many places as you can. You also have to remember that every prop you put in your show, you have to carry it around during rehearsals and performances. So keeping your show simple will allow you to book the show in as many venues as possible. That is key because you want to be able to make the show your calling card.Also, you should try to keep the show at about an hour in running time.   If the show’s over an hour, you’re putting yourself at risk of not being able to book the show at many festivals.

Douglas Taurel:  You helped me so much in forcing me to keep my set simple. I believe all your shows are staged fairly simply which is great because it forces you and the audience to focus on the story, not the set or light change.When I picked to have an army turns in my show, I didn’t think about carrying the trunk to and away from rehearsal, to and away from the theater so definitely choose your props wisely.

Padraic Lillis: I love what we did with your show. The flag in your set as the backdrop is very clean and simple. I am sure the trunk for you was bit of a pain but all your pops fit in the trunk which allowed you to take the show anywhere.

Douglas Taurel: : What’s the biggest problem you face when you’re creating a solo show with an actor? Is it preparation?

Padraic Lillis: People who don’t realize the work involved in the technical aspects of the show and the emotional parts too. You have to be willing to be honest and truthful with facts and story. You have to be willing to talk about the things that are hard for you and go places that are emotionally not fun.So, when I find people aren’t willing to be honest, then I’m like, well then we’re stuck because you don’t have to expose everything but you do have to expose a lot. You have to reveal something. You can’t tell me you have a compelling story and not be willing to reveal your wounds that has brought you to the stage.   It’s a lot of work.That’s the other thing I’m learning as a director is that I can’t do the work for the actor.   I can inspire, I can cajole but I can’t do the work. You have to do whatever process you need to do to learn those lines and whatever else is required.However, it is very important for me, as the director, to always bring energy into the room. It is unfair if you’re working and I’m not giving back. I’m your scene partner and I have to have something in my mind to help you and the story come alive. I have to be directing, I have to be thinking critically, and I have to be making sure the story is happening. I have to be watching and engaging back.

Douglas Taurel:  What’s the main piece of advice you would give an actor starting to work on a solo show?

Padraic Lillis: Have something you’re compelled to talk about. You have to have a deep passion for your story, the thing that lights the fire in you.Do the thing you’re passionate about because when you’re on stage no matter what the story is, you’re going to have a strong relationship with the audience because they will know that you care, anything else won’t hold up for an hour.

Douglas Taurel:  What is the biggest mistake you see actors make when they’re doing a solo show?

Padraic Lillis: The biggest mistake is that they start the show and they don’t know why the are doing it. They haven’t found their passion. Say it’s mildly successful. You’re going to live with the play for a year, minimum.

Douglas Taurel:  I know. I’ve lived with mine for almost 4 years now.

Padraic Lillis: We had a great moment on our first public presentation which was on Memorial Day that was when we knew we had a strong magical show. All of the sudden, you realize, we’re doing this play on a Monday night, Memorial Day – who is going to come? Who cares? And now you’re still having people book the show and you’re still in a relationship with the audience. That would not happens if you didn’t know why you were doing it and were passionate about it. Or if you were just singing 10 songs.

Douglas Taurel: : It is exhilarating to know that we took an idea, letters I had researched and we turned it into an evening of theater. It’s an amazing process and it was one of the first things you told me you cared about was that we would create a process together of creating and building the show and I believe we definitely had that. When I run to other solo show artists you have directed, we talk to each other with a level of kinship and respect because we all went through the same process together.   We all feel blessed that we were directed by you Padraic.

Padraic Lillis: Well maybe not all of them feel that but maybe some of them feel blessed.

Douglas Taurel: A lot of them were, Padraic. So, that’s a tribute to you.What advice would you give a director who’s starting to work on a solo show? Or who wants to direct a solo show?

Padraic Lillis: You have to like people. I know that sounds obvious in theater but you have to like people and you have to be innately interested in who they are. And the biggest skill I think, for the solo show director is listening, being able to listen and hear what’s valuable, why they’re doing the show and what’s valuable in the material. This will tell you what their story is, is it a love letter or whatever, and more importantly, it will tell you if you want and can work with the solo show artist.