Who are you? Where are you from?
I hail from the northern NH Sweatt family, with no famous connections to the senator ‘Swett’ or the R&B singer ‘Sweat’, just Scott Sweatt from Errol, NH.
Have you worked with Whistler before?
The last production I worked on was In on It in the fall of last year, and then have done other readings and workshop performances like The Dollatorium and Trojan Women.
How did you get involved with The Europeans?
It has been over a year since I first read the play as part of the Barker festival, and then the process of decoding Barker began over the months that followed. This involved many stolen conversations of “When are we going to do this?” and “I like that play a lot. More please.” And now we are here and I still want more.
What, to you, is the most exciting aspect of The Europeans?
I like words. I like to sift through a text and find inspiration in rhythms and subtexts, and Barker excites that archeologist in me because it is not always readily apparent how to play inside of that world. It’s exciting to me to engage in a conversation with a playwright simply by trying to decode the meaning every time I open my mouth to speak.
What makes working on a Barker play different from other experiences?
It hangs in the tension of having to maintain a heightened presence while simultaneously filtering these larger emotional experiences into the subtle gestures. It requires a quiet intensity that has the potential to erupt but is more often restrained.
What’s your favorite rehearsal overheard so far?
“I know how to do it from behind, but how many thrusts do I have to do?”