Carleton-Barnes Discusses Latest Effort, Lucia Mad

Since his freshman year, senior Gabriel Carleton-Barnes has performed in a string of Oberlin productions including Geech Wins Five Bucks, Lonestar and, most recently, House of Yes. Last spring, he made his directorial debut with A Separate Peace. His second directorial effort, Don Nigro's Lucia Mad, will be performed in Little Theatre tonight at 8 p.m., Saturday at 2 p.m. and 8 p.m., and Sunday at 2 p.m. Based on the relationship between James Joyce's volatile daughter Lucia and Samuel Beckett, Lucia Mad explores the torn loyalties of the young Irish playwright and the madness to which hopeless love can reduce the unrequited. Arts editor Tim Willcutts interviewed Carleton-Barnes.

Tim Willcutts: To what extent is Lucia Mad a true story?

Gabriel Carleton-Barnes: Most of the specific events are based on fact. Lucia really set fire to her room, for example, and her visit with Carl Jung is known from historical records. The author did a lot of research. But the individual conversations are all contrived. He rearranged the order [of events] to a degree.

TW: And her interest in Sam Beckett?

GCB: There was definitely a relationship between Lucia and Beckett. When she was in a mad house, St. Matthews in Northhampton, he sent her the Illustrated London News every week. He cared about her. She had a definite romantic interest in him, as well. She told her father that they were getting married. Her interest was no secret. Sam Beckett told his cousin that he was dead and had no feelings, which was why he couldn't fall in love with Lucia.

TW: But she was unstable before meeting him?

GCB: I mean, her father was James Joyce (laughs). She was always very excitable.

TW: Will this production appeal particularly to Joyce and Beckett fans?

GCB: The story is more about Lucia than Joyce. It's not written in a Joyce or Beckett style. Certainly, people who know about their lives will pick up on some of the more subtle humor. But I think it will have a pretty broad appeal.

TW: How did you choose to direct it?

GCB: It was performed in my high school. I read the script and was very interested. I kept picking it up now and then. It had been in my head for years.

TW: Do you prefer acting or directing?

GCB: I don't know. It depends on the day. Sometimes, it's much more relaxing just to act, to only have to pay attention to one person. But when I'm feeling really active, I like to shape things. I like to direct.

TW: Do your objectives and the objectives of your actors often conflict?

GCB: Intermittently, but the job of the director is just to guide, to have a coherent vision but be flexible within it. I can push them in different directions, but, if you tell an actor what to do physically, they won't be honest. Theater is very cooperative. That's one of the hardest things about it.

TW: Do you think there are enough outlets for actors and directors on campus?

GCB: Theater at Oberlin certainly provides a lot of opportunities. I got sucked in as soon as I got here. But the academic program doesn't have enough courses and not nearly enough facilities. The best space students can get, without working through the department, is Little Theatre, which is a converted TV studio.

TW: What are you planning next?

GCB: I don't think I'm going to direct next semester. I'm going to concentrate on classes a little more. But I'll be in Alexis Macnab's ('01) senior project, Night Fractal.

TW: And after graduation?

GCB: I have this sneaking suspicion I'm going to end up teaching. I'm moving back to the Northwest, getting out of Oberlin.