On why one actor, and why professional:
Having written and directed plays for several years for activism with youth audiences, I know how challenging it is to pull together a cast. My plan was to follow the model I had work out with The Thin Line (a one woman 30 minute production on coping with eating disorders, 1999). One actor to pay, one actor to schedule.
Nearly every production, I recognized, would be presented to captive (not incarcerated, however) audiences for assemblies, orientations, awareness weeks. They would have been told the topic of the presentation, and they would be certain before they arrived in the auditorium (if they were lucky) or the gymnasium (very likely) that it would suck. In every audience there are victims and survivors, and I did not want to set them up for an hour of humiliation in which the topic could be ridiculed, diminished, or trivialized. The actor has a tall order—teens are not known for polite theatre behaviors, especially when sitting on bleachers or in the back of large auditoriums—and he has to “win” in 10 seconds or less. A task, I felt, best suited to a professional!