Listen in as ExtraO1dinary Aliens! playwright Carolina Ðỗ and assistant director/stage manager Isabel Criado discuss nightmares becoming reality, bureaucratic flattening, telling stories to heal, collaboration & community & education, and growing, changing, & becoming more real.
“It’s about people trying to survive the American government…”
“…while pursuing the American dream. Which is such a paradox. But a reality.”
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Listen in as Our House playwright Barry Boehm and actor Christopher Borg discuss wedding jitters, putting your play in history, living a life of dignity & honesty & joy anywhere, legacy, sticking your foot in it but trying to do better, rom-com energy, & the history and importance of the producing company, TOSOS.
“…I’ve had the basic ideas of this play for many years…originally it was going to be about the life of gay people, comparing the East Coast to the Midwest…then as I got older, it became a more intergenerational discussion…things just sort of changed…it’s about people that are trying to find their voice, and express who they are, but are often caught up…they experience crises in different ways…”
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Listen in as Ed Schmidt, creator and performer of Edward, discusses melodramatic origins to fictionalized short stories, a “theatrical epistolary novel,” doing what you can do and not what other playwrights do, cutting out the middle men, object—>story vs. story—>object, and finding the sustainable model that works for you.
“…somebody else’s life started to emerge from this, and at a certain point I realized, ‘this is a play, told this way.’ […] And I thought, ‘how could I do this thing, which is really kinda anti-dramatic…and make that theatrical in some way’…”
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Listen in as What If They Ate the Baby? playwrights, directors, & performers Xhloe Rice and Natasha Roland—Xhloe & Natasha—discuss being fascinated by history, deep absurdity, dressing up in femininity (as opposed to the masculinity of their last NYC show), zooming into a slice of life, true crime re-enactments, green spaghetti, candy-coated plasticky artifice, and not letting anything go to waste.
“…my biggest tip when you come see this show is, let it happen to you—don’t hurt yourself trying to get to the bottom, ‘what does this mean?’…just wait for the car ride home…”
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Listen in as Helen in Her Homeland playwright Alexandra Haddad discusses immersion & implication, fragments of poetry, working outward from dialogue, leaving arts admin jobs, listening without responding, writing as a director, what propels us through the difficulty of production, and “the spectrum between Sarah Ruhl and Sarah Kane.”
“…early on, Helen says, ‘you might think you’re above that,’ like, judging people by their appearance, but ‘you have a body, too, you have a face, too,’ and you know that those things have consequences in the world. And so, I do want the audience to feel both invited, and implicated in that conversation…”
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Listen in as Not Our Home, Not Our Home playwright Ned Du, director Sissi Chen, performers Didi Won, Boyu Chen, Tien-Li Wu, John Jiang, & Josh Lau, and composer Hannah Limbrick, discuss the meaning of family, lost cats, enough or too much, freedom, enmeshment, what twists us apart, “love and responsibility,” mirrors of ourselves, and the purpose of guilt.
“…this show is really about the concept of guilt. How does guilt move us, how does guilt animate us to do very, very silly things. Also, it’s about the question of immigration; who do we leave behind, how does it change us, and more importantly, how do we maintain ourselves as a family despite, for example, straddling the Pacific…”
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Listen in as the co-writers of Steve Burns ALIVE—Steve Burns, performer, and Matthew Freeman, director—discuss the performer-audience relationship, going through some weird experiences, holding hands, asking for help, hermit crabs out of their shells, humans & humanity on the internet, having a conversation with an old friend, ancient technological testaments, the “inherent unsatisfactory nature of being alive,” and the kind of show that can only come from a place of deep friendship and creative respect.
“…it’s built to be a story for the audience, not just a confessional; it’s thematic, about the nature of the authenticity of our relationships through screens, and our relationships to each other…it’s an exploration of communication…”
“…in modern terms, it is really kind of an exploration of what a para-social relationship is, mediated by technology…”
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Listen in as writers/performers David Carl & Katie Hartman of David and Katie Get Re-Married, along with director Michole Biancosino, discuss litigation possibilities, drama school in the ’70s, heading to Edinburgh, psychopathy, wrangling, 9 a.m. dramatic improv (without a director), writing for yourself, confusing your audience, improvising into weird emotional places, and working with your friends and idols.
“…this man wears boat shoes, and quotes ‘The Zoo Story’…”
“And now I wear crocs!”
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Listen in as Lilith in Pisces playwright Kayla Eisenberg, along with director Stephanie Cox-Connolly, discuss missed connections, revealing secrets, Jekyll & Hyde, starting from anywhere, campfire plays, designer collaborations, staging the unstageable, adjacency to horror, “a little bit of not-sympathy,” Stephanie’s recipe for making stage-ready mac & cheese, and things that are funny until they’re not.
“…I don’t know if it was the stars in the sky as we were reading this, or the fire started getting more fire-y, but there was a feeling with this that, THIS is a play we need to produce…I wanted plays that had that living room drama kinda feel…I like that kinda feeling of…just, ‘what is happening?’ that had theatrics in it that no one in their right mind would want to do…”
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Listen in as Anonymous playwright & director Nick Thomas, along with performers Adam Belvo (Michael) and Azumi Tsutsui (Diana), discuss sharing a character, letting the story pour out, the relief of the audience, “embedded” theatre, “rehearsal with a bunch of strangers,” going “full Australian business-bro,” finding a character that’s far from you, taking us back to the (awesome) 1990s, and the potential of anonymity.
“…it has a different feeling of freshness. Like, I can feel the people sitting beside me, and they don’t know what’s going on, but hearing the story for the first time…I can feel, people are feeling it…”
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