Canosa: One of my biggest problems is that I am always more interested in process than product. A week before the show, actors are always screaming "What the fuck am I going to do on stage?"

My biggest problem is that the discovery for me is more about the play and the process, I haven't branched into discovering character, although I did that with Miss Julie to a certain extent.

I am aware of all of these issues, I would like to wonk the audience on the head with a bat, I send the actors down as puppets in Dream Play and had them manipulated.

We didn't spend enough time weaving together, we were so busy exploding ideas. The rehearsal process I have, it gets so big, so huge. They didn't have a text, they only had a bare-bones text one week before the show.

The Crimson: And what are you going to do with Supposing Rommilly?

Canosa: It's my first musical. Manfred Kuhnert, who's directing the Lowell House Opera, Magic Flute, I've been talking to him about this new medium for me. I don't want anyone to ever say I'm going to see a "Hans Canosa play" and know what that is.

There's two ways to get stuck: do a "good" production, be faithful to something, or [the second way is] trappings, images, effects not rising out of the heart of the text. I know I can be accused of trappings, but I know that trappings in the end are empty.

I feel like there are so many opportunities wasted in so many productions. I waste so many opportunities, but at least I know there are those opportunities, I've opened them up, at least I can say, "I didn't get it," rather than not even explore it.

I'd kind of like to take all the other infinite possibilities done in rehearsal and project them on big screens during the play--although, that also is not new, it's been done before by other people. I want every play to have a new style.

Although, in Dream Play, we did do a lot with cloth and paper, and Rommilly will have a little cloth--a scene with a lot of bed sheets was written even before I joined the project-- and a lot of paper, because he's a writer, there's a lot of paper.

I love Jenny [Giering]'s music, she's a wonderful composer, every time I listen to her music, I get excited about the show, then Brad [Rouse] and I write more. It's a really exciting collaboration.

I love to take from everything, everything that is done now has to be built on what came before. I admit it, I steal, suck in from every source, that's what I want to do--I want to be a vampire and a thief. That's what I want to do.