Via Culturebot -- an interview with Ari Fliakos about the making of Vieux Carre:
The performers, sound, video people, we’re all there in the beginning, and we’re all material until Liz has a chance to edit it down. It’s kind of a muddy soup. It’s a slow accumulation once you start rehearsing of things that stick to the wall. You keep throwing things against the wall, again and again and again, and then things start to stick. Sometimes you tear it all down, and then you come back to it and you know where it fits. We tend to work in four- or six-week chunks, which is a tremendous luxury. If we’ve been working on a show for 2-3 years, it’s really much less than that. To be able to leave something and come back to it isn’t something people usually have the opportunity to do in the theater.