There are probably a million things that are hard about writing a play. And it’s possible to find yourself walking some extremely fine lines between what’s real and what’s not.

Playwright Ashlin Halfnight gives us a glimpse into what it’s been like to bring his new play A Hard Wall at High Speed to life.

HOW WAS A HARD WALL AT HIGH SPEED BORN?

A Hard Wall at High Speed was originally conceived when a friend of mine visited the Florida Keys and met someone –- and ordinary American –- who had lived through some astonishingly unfortunate circumstances; this man’s life really hit home. His struggle and downfall were a story that I felt said something pretty profound about our collective experience as Americans. The narrative as historical, biographical truth was inherently dramatic and horrifying, but I began thinking about departures… about how to craft a redemptive, resonant drama out of my friend’s tale.
As usual, Greek myth came to the rescue.

I began to really write the play when a director friend of mine, Kareem Fahmy, kindly invited me into a workshop at Second Stage; the goal was to adapt a Greek myth into a contemporary play… and so I used the story of this South-Florida man and mixed it up with Andromache. It was sad and bloody and shocking, but ultimately it didn’t really work.

After that, I was lucky to be able to continue to develop the piece, now called A Hard Wall at High Speed, at MCC, as part of the wonderful programs they offer to writers who are part of the Playwrights’ Coalition. Lastly, the play had a reading sponsored by NYTE, directed by Josh Hecht.

When Tom Wojtunik approached me about APAC staging it, and when May Adrales signed on to direct it, the most important final pieces were in place… they have both been incredibly instrumental in the all-important revisions that always accompany the lead-up to the first performance.

So, um, a lot of people have had a hand in the birthing of this piece, and pretty much all the good stuff in the play came from them.

WHAT HAS BEEN YOUR BIGGEST CHALLENGE WRITING THIS PLAY?

Besides all the millions of things that are hard about writing a play, I’d say that departing from the “real truth” of the situation, and creating a narrative that is entirely –- mostly –- fictional… but also not. That’s a fine line that the play walks a little… and it’s one that I’m walking. See the above waffling.

I think the subject matter is also hard. It’s really loaded. It’s explosive, emotionally charged, and dangerous. It’s stuff that people either don’t talk about at all, or talk about too much. It’s everywhere in public life, on television and in politics, but very often it’s dealt with in superficial and undignified fashions.

WHAT ROLE DOES THE REHEARSAL PROCESS PLAY IN CREATING THIS WORK?

Rehearsal is always especially crucial when bringing a brand new play to the stage. The piece is constantly in flux, changing daily, changing hourly, improving by the minute, and that’s a huge part of the process for any of my new work. I’m in the rehearsal room, watching, listening, and then constantly rewriting, and I listen to the talented voices around me. I’m in constant contact with May, and we’re always searching for the most efficient, elegant manner in which to tell the story. I consider every opinion, and try to stay open to fresh perspectives, even if they radically depart from how I hear a line or see a gesture. Thankfully, we have an incredibly talented and versatile cast who can adapt, ask intelligent questions, and make adjustments on the fly.

I guess what I’m saying is this: the rehearsal process truly creates the play –- it isn’t the memorization period or the “you stand here period” the way it might be in a production of Romeo and Juliet. It’s truly an integrated and team-oriented forward movement that depends on every artist. At its best, and the process with A Hard Wall at High Speed has been just that, it is a true collaboration, where everyone is pulling on the same oar, with the goal of making something speak, live, meaningfully, for the first time in history.

WHAT’S YOUR FAVORITE THING ABOUT WORKING WITH APAC?

Oh man, where to begin.

People. First, the people. I think the APAC staff, top to bottom, has been incredible. Totally classy, smart, organized, and –- wait for it –- completely down to earth. There is no diva factor, no attitude, and no smoke and mirrors… the company is doing adventurous, edgy work while remaining open, comfortable and inviting. Not for nothing, but that’s a minor miracle in the theater world.

The facilities. They’ve got a space all their own, and can have a luxurious building period, which allows actors to get accustomed to the set, and allows designers to get everything “just so” before opening. For someone who has done the crazy-intense 48-hour builds and techs in most theaters, this is an absolute godsend.

Astoria. I think discovering Astoria is an amazing bonus to doing theater at APAC. They handed us a list of bars and restaurants in the area, with recommendations about where to take family and friends during the run, and where to grab an after-rehearsal drink. I’ve been working my way through the list, and expect to leave no door unopened, no glass empty.

The cast and director. APAC has assembled an amazing, impressive team of artists. I feel blessed and lucky to be in the room with all of the people who will be bringing A Hard Wall at High Speed to life for the first time… they are a gifted group, and I couldn’t be happier with the work they’re doing already.

WHAT’S YOUR NEXT PROJECT? TELL US ABOUT IT.

I’m teaching a “Working with New Text” class at the New York Conservatory for Dramatic Arts, which actually involves the creation of a brand new play –- a world premiere, I guess –- in an educational environment. So, that’s on the front burner, set to be unveiled in early December. In the new year, the film of my play Survival Box is shooting in Toronto, so I’ll be on set for that… and I’m developing a web series with Jason Alazraki called Steele Deuce Players. We’re set to go live on the Internet in the spring.

ANYTHING ELSE YOU’D LIKE TO ADD?

I just got married to the love of my life, and an amazing actor, Jessica Cummings.

We didn’t get to go on a honeymoon (I had to work) but we just had our couch delivered, from Jennifer Convertibles. So that’s good.

I am a die-hard Leafs fan.

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The world goes crazy when Ashlin Halfnight’s A Hard Wall At High Speed premieres November 3, 2011 and runs through November 19, 2011 at the Good Shepherd United Methodist Church, 30-44 Crescent St (@30th Rd), Astoria, NY 11102.

Get your tickets here.