Listen in as Mark Plesent, Producing Artistic Director of Working Theater, and Adam Kraar, the playwright of Alternating Currents, the company’s new show in their “Five Boroughs/One City Initiative,” discuss inspiration from the unique place of Electchester, Queens, discovering your main characters, putting an audience’s own story onstage, “wonderment,” advice for new indie theatre artists, and what it takes to live in a community.
“…what quickly gripped me…was the multiplicity of voices that seemed to contradict each other, about everything from the politics of the street fair, to how nice it is to live here, to what race relationships are like. And everybody was very heartfelt and sincere, but there were a lot of contradictions, some disturbing things, some really inspiring things. So the initial impulse for the piece was really to write a play for a multiplicity of voices…”
Listen in as Wind-Up Variations creator/writer/director Rob Neill, along with performer Ayun Halliday, Eevin Hartsough, and Daniel Mirsky, discuss the Neo-Futurist aesthetic, following a monkey across a waste-land, dialogue-mining, finding your mechanical avatar, inviting the audience, and having a plan through the chaos of live performance.
“…that’s an opportunity, and not everybody will take it. And that’s part of the magic; ‘let’s see what happens next…'”
Listen in as collaborators on The Assembly’sSEAGULLMACHINE—conceiver/co-director Nick Benacerraf, co-director Jess Chayes, dramaturg Steven Aubrey, and performer Jax Jackson—discuss layering multiple theatrical sources, permission to find points of resonance, turning on a dime, the company’s development process, finding new roles through that process, bringing an audience into a world “oozing word-slime,” different versions of ourselves, and the question of whether or not theatre can produce change.
“…every night, by a certain time in the play, it feels like we’re also just people, human beings in a room with our audience. And that has been one of the most special experiences of it, to me…”
Listen in as Retro Productions Producing Artistic Director (and “Joan” in the show) Heather E. Cunningham, along with fellow performers Chad Anthony Miller & Ben Schnickel and playwright Gina Femia of We Are a Masterpiece, discuss multiple lenses, levity in the midst of suffering, what makes a play “aggressively contemporary” (and where that fits into the “retro” of Retro Productions), “the cyclical nature of prejudice,” healing through art, universality through specificity, what we’re capable of, and making the choice of love.
“…there’s always hope. Hope is always the way through tragedy, and despair. Yes, this is a very sad story, and yes, you will cry, and we cry. But there are beautiful things that happen when people, in the face of adversity, step up to the plate and do what’s best for their fellow human beings…”
Listen in as Echo creator & sound sculptor Ran Xia, along with director Nicholas Orvis and performers Andrea Lopez & Max Henry, discuss inspiration from books about harmonicas, moving from sound collage to stage play, improvising to audio, physicality with constantly changing things, handling nakedly honest material, timelessness vs. time specificity, and the importance of simply listening.
“…when I was editing them, it’s like, I could cry, like every second, every other track, because everybody was just so open, and very real. You get real very fast…”
Listen in as Love Trade writer/director/performer Elizabeth Hess, along with collaborators/performers Katie Palmer and Lucas Tahiruzzaman Syed, discuss their collaborative process, feminist revenge fantasies, integrating and playing with the audience, fetishization of race, balloons, lived text, and performance poetry.
“…it’s a very hybrid approach to performance, and I am a magpie. I am thrilled that Lucas is foremost a musician…Katie is also herself an artistic director, and she’s got an incredibly strong dance background. I beg, borrow, and steal from that […] create [your] own hybrid approach that really resonates with [your] own voice and vision…”
Listen in as playwright/performer Manning Jordan, director Alice Cash, and performers Ashley Underwood & Ellie MacPherson of Dooley, performed as part of FRIGID 2018, discuss inspiration from disturbing 1960s board games, plunging psychological depths, collaboratively re-writing, re-naming in the interest of financial considerations, “sneaking around outside of classrooms” to meet your new collaborators, the benefits of inconsistent performance times, and sharing your most vulnerable self onstage.
“…my friends wouldn’t play it, they said ‘it’s all too heavy, we don’t want to get into it.’ So then I went home, and I wrote the play as if we had played it…”
Listen in as Molly “Equality” Dykeman herself, Andrea Alton, along with her director, Mark Finley, & “Jerry from Task Rabbit,” Allen Warnock, of the new Molly show in FRIGID 2018, Molly’s World, discuss responding to the moment, working with a director when the show is grounded in improvisation, finding the gold between the islands, allowing for audience engagement, internal logic, “Molly-heads,” and having the freedom to say whatever you want, however you want.
“…I like that Molly can say whatever she wants, and she always comes from a lovable place. She’s this total misfit, and I like that she has the freedom, and she’s just trying to get through the day as best she can. I kind of enjoy her freedom, and her cluelessness…”
Listen in as Tessa Flannery, playwright/performer of the new play Tentacles in the 2018 FRIGID Festival, along with her director, Rebecca Cunningham, discuss naming your characters after your actors, keeping calm in the face of technical difficulties, “on-brand failure,” and how to layer difficult social issues into your show about hentai.
“…I love working on shows that have strong women as the leads, but I also really love when they’re flawed, and the character Tessa is not perfect, and is certainly privileged and is coming at it from that perspective, and so we throw that at her…”
Listen in as performer Mariah Freda & director/”script assembler” Melissa Moschitto of The Anthropologists‘ new show Artemisia’s Intent discuss the company’s approach to devising, the well-meaning wish of “break a frame,” skirts from tablecloths, working from found texts, activating original art, and the resonance of 17th Century baroque painting with #MeToo.
“…pressing up these two points in time, with 400 years in between them, there’s actually still a lot with us, and we’re trying to point that out, and be, like, ‘now what?’ Let’s move forward from that…”