Stage Whisper
Whisper in the Wings Episode 577
(upbeat music) - Welcome back in everyone to a fabulous new Whisper in the Wings from Stage Whisper. We are so excited about the show we have on today. This is gonna be so much fun. And more importantly, this is so exciting because today we have the winner of the SoHo Playhouse Lighthouse Series Join Us. Here to talk about the show, we have the playwright and performer, John Collins, and the collaborator and performer, Chesting Mitchell. They're here to speak to us about their piece. It's not what it looks like. Playing July 24th, the real August 10th at SoHo Playhouse, and you can get your tickets and more information by visiting SoHo Playhouse.com. We are so excited, first of all, that this show won the Lighthouse Series. This is so fantastic to hear. But second of all, that we're getting the chance to speak with these amazing artists who created. So let's not waste any more time. Let's go ahead and welcome in our guest, John Chesting. Welcome in to Whisper in the Wings from Stage Whisper. - Thank you for having us. - Thank you so much. - Thank you. - I'm so excited you both are here. First of all, congratulations. What an incredible job you've done. You won the Lighthouse Series. Hooray. Now you can hang up your coat to meet up. No. - Hey, it's out. - Hold on, hold on, hold on. Thank you, everybody. - No, but I mean, this is so amazing. I'm so happy for the two of you that that is, it's not easy. This is not an easy series to compete in number one, but to win. So that's fantastic. And now you're getting a, you know, just over a two-week run at the SoHo Playhouse, which is amazing. So let us start by having the two of you tell us a little bit. Let me try that again. Let us start by having you, John. You're the playwright of the piece. Can you tell us a little bit about what this show, it's not what it looks like, is about? - Sure. So it's not what it looks like. Oh, see, I can't even say it. I'm too, I'm too nervous. I got this. Let me just take a breath. Okay. Our play, it's not what it looks like, is it's kind of a journey to its characters take because they are caught red-handed, looking very guilty, but it's not what it looks like. At least that's what they want you to think. So to prove their innocence, they take us back to the beginning of events of how things ended up. And as tensions rise, they're a narrative and testimony begins to crumble and the truth comes out. And it's really a piece about what it means to be seen as a good person, even if you think you aren't one at all. And that's our little spiel we got. Thank you so much for coming, it's been so great. And we'll see you around. Thank you. - I love that. What a creative show. So let me ask you, John, what inspired you to pen this piece? - So I have a little journal/notes app on my phone where I just, whenever I have an idea or a funny line or something that pops into my brain, I'll write it down. And I had this idea of a little monologue about someone talking about how Tom and Jerry is an incredibly unrealistic TV show. And then goes on some diatribe about why it is so unrealistic. And that's kind of, I think, like the birth of what this show ended up being. So I was kind of sitting on that for a little while, and then Chesney and I, we met in college, we became best friends in college. I was a year older though, so, you know, I had a lot more wisdom to impart on her. And I was out in the city a year before she was. And then she eventually moved to this city. And we've always wanted to create something together. And she was generous enough to let me run with this idea. And from there, we kind of met every week. I would come to her with like 10 pages and a bottle of wine, of course. - Maybe two. - Maybe two. But we're very professional, so, you know, probably just one. - And we kind of bounced the story back and forth, and I would go and write, and eventually it turned into the full show. - Oh, wow, I love, wow, I really love that. That is fantastic. - Chesney, I would love to know, he kind of touched on the idea that he shared the piece with you, and you helped collaborate in writing it. You know, can you elaborate a little bit more on how you came upon the piece and what your initial thoughts were? - Well, John, like he said, sent me that first monologue, and obviously, I thought it was brilliant. I can't lie, I don't wanna make his head too big, but I liked it, I liked it. And like he said, we were probably getting together to hang out anyway, and we had wanted to create something together for so long. And so obviously, once he sent me this, and I saw how great it was, we started working on it for a very long time. We'd start living in my thoughts the other for a second. - Yeah, so eventually it became sort of like a hodgepodge of ideas and things that John was writing and putting together, because the Lighthouse series found its way to us only a few months into the writing process. So it really wasn't a completed piece when we entered into the competition. And I would say it's even evolved 10-fold since we won the festival. We've done a lot of work since then to adapt the story, to make it a little more audience friendly and understandable, because we've done so much work on these characters who have become so true to us that we know the ins and out of them. And so now we've really just worked on making sure that the audience can understand them as much as we do. So that's really kind of been what, I feel like my role has been in this whole process for the last year is going through their script with John and kind of talking about points that I feel like my character isn't fully being understood from the audience or vice versa. And that's kind of what we've been working on for the last few months to prepare for this run. - That's amazing. I love that. That's such a great process. And I kind of want to snowball off on the ideal process because I want to ask, you know, you get to produce the full thing now. That's what we're in store for coming up. So what has it been like developing the show from, if I remember like 10 minutes to like 30 minutes and now you're doing the full production? - I think it was actually, we were very nervous at first because my friend, she sent us the, that the Playhouse, So Bless Lighthouse series submission the day before it was due. And like the full play had like kind of been written and we had done like one reading and we were still very much like in the process of creating it. But I remember I was on my way to work and we were like, we need to submit this. You know, Phoebe Waller bridge performed here and she's one of my idols. And I was like, we, we got to do it. It kind of fell into her lap. So like I Frankenstein this like 30 minute version of the show together on the train. And it was crazy. And we always laugh that we can't believe we got in because we like have read back on that 30 page version. We're like, what the hell was this? It was crazy. But what was really amazing is at that time, Chesney had the idea to bring on our director and Vincent to George who was actually our freshman acting professor in college. And he, she, he just has such a specific vision and a really unique visual language and directing and storytelling. And so we had kind of brought him on to help us with an industry reading and kind of help form this, you know, mold of the show that we had. And then he said yes to doing it. And the next day I was like, also we just got accepted into this festival. We're going to need you to come and help us. So we like did Zoom rehearsals when he was back at university and ended up being really amazing. I'm sure Ches will agree that it kind of forced us to strip away all of the meat of the show. And when you get to a 30 minute version and then a 45 minute version for the second round, what is really at the core of the show? What does the show need to stand on in order to survive? And that was a really, really like unexpectedly helpful way to get to the heart of what the message of the show was, which we always knew it was the idea of what it means to be seen as a good person and how do you deal with grief when the rest of the world has moved on but you're still stuck there. And it really helped highlight a lot of what that needed to be for us. And then it really helped us go back as we continued to expand the story and plug what we learned from the audience, from the series and from, you know, anyone that came and supported with us and seen the show into what the play is now. I think it was a really unexpectedly helpful way to really flesh out what the show needed to be for us. - Yeah, I completely agree. And honestly, that's exactly what I would have said, getting to the heart of it made it so much easier for us to understand what the full 90 minutes should be. - Yeah. - That is incredible. Wow. We were, I think, super lucky that we already had the full story, if not fully fleshed out there and being able to have it, we're just very lucky that we were able to really explore in such a microcosm of what the show could be. - Yeah, because we both really obviously loved the idea of the show and these two characters and what we knew it could be. And going through the process of the Lighthouse series and now working on it since then to create this version that you're going to see up on stage in a week. - No. - Like, you know, it just, it really gave us the time to flesh it out, to make it what we always knew it could be. So I'm so thankful that one, your friend sent us the-- - Shout out to Caroline, thank you Caroline. - Shout out to Caroline for sending us that the day before it was due because it has totally changed the trajectory of this show and it's brought us to where we are today. - Yeah. - That's incredible. So John, I wanna ask you as the playwright and add one of the performers with this fantastic fun show. Is there a message or a thought you hope audiences take away from it? - Yeah. What I am drawn to as a writer and as a performer because, you know, I have a huge ego and I have to write for myself and write for my friends, of course, but I have something I've really been drawn to in the arts is the idea of what it means to be viewed by society, which of course sounds so cliche and basic and any good theater does put a lens on what that is, but specifically being in our mid 20s in the World War and now and struggling with this idea of constantly being online and constantly being viewed and having to put on a front. All while we have our own problems and dilemmas and traumas in our life and trying to put on a face that shows like, I'm a good person. I'm a fun person. I'm a kind person. And I really hope audiences will come away from the show feeling challenged with that notion of what does it mean to be seen as a good person? Even if you think you aren't one and what does it mean to need someone and perhaps feel like you aren't receiving that or you feel like you can't give that due to whatever is blocking you in your life or your own personal problems. And I hope audiences can walk away realizing that there's a lot more nuance and to all of that. And there should be a lot more grace given because we live in crazy times and life is already hard enough as is. And I think this play tackles that in a very absurd way in a very thrilling and suspenseful way and funny way. But I love that this show has taken on the audience almost as a character itself and really pushes them to think about these concepts, which is a long-winded answer. And I'm trying to sound way too smart here, but that's what I got. - I love it though. No, no, no, I love it. Well, Cheryl, I want to ask my last question from this first part to you because as we've mentioned, you're a collaborator. You're also the other performer in the show. So who is it you're hoping have access to this piece? - Oh boy, honestly, I would say that I hope that this reaches out to, not all ages, I would say it's maybe a little inappropriate for the kiddos, but young 20s. And then also I would say, people who are our parent's age, I think could totally relate to it a lot because another topic that our show kind of deals with is how people deal with grief at different stages of life. And I think that that's something that you can never really know what age you're gonna be in when that hits you. And so I think that that is something that really all people can kind of relate to. And so yeah, I would say any and all adults that are interested in the theater. - I also think something you were mentioning too about with this podcast and wanting to make it an inclusive and equitable space, I think something that I'm really excited about. And I've been seeing post COVID is theater, there's been this like urgency and like young artists wanting to create work. Like, Chesney has done it. I've done it so many of our friends are doing it now. And I really hope, I can't say that this is the play that's gonna do it, but I hope we can contribute to kind of breaking and opening up the idea of what theater can be to a new generation and our generation and really making it a really exciting place. 'Cause I think we all have an idea of what theater is. And there's some amazing things and some not so amazing things. But I think we're in a, at least I'm seeing this churning of what theater can be. And I hope we can bring in new audiences and in that sense too. (upbeat music) (upbeat music) - Well, for the second word of our interviews, we love giving our listeners a chance to get to know our guests a little bit better, pull the curtain back, if you will. And I would love to start with a regular first brush, which is what or who inspires you? What playwrights, composers or shows have inspired you in the past? Or just some of your favorites? And Chesney, can I actually start the second part with you? - Absolutely. Whenever I saw this question, the first person recently who comes to mind that's been a huge creative inspiration for me. It has got to be Miss Rachel Senate. I have been loving the work that she's been doing and the material that she's been writing. Shiva Baby and Bot Thumbs were both two of my favorite films that I saw this last year. I think Shiva Baby was a couple of years ago, but I only watched it this last year and I loved it. So yeah, Rachel Senate has been a huge inspiration of mine most recently, especially when it comes to writing my own projects. - That is a fabulous inspiration that I love it. - Well, John, I would love to know what are who inspires you? - Well, I am gonna be so candid here. I already mentioned her name once. Phoebe Waller Bridge, the love of my life. I am available right now, Phoebe. I'm sorry, Chesney, to break the news to you. But I am in love of my life. She's amazing. For my birthday two years ago, my younger sister got me a Lego portrait of Phoebe Waller Bridge's face that I have on my desk. Whenever I typed and I'm like, get writer's block, or I'm like, I'm never gonna make it in this industry. I look into her Lego eyes and I'm like, I'm gonna be okay. And the fact that she has performed Phoebe at Soho Playhouse in like full circle moment for me, she's like up there. I also love, you know, current playwrights, Jeremy O'Harris, Amy Kurzong's amazing, Terrell Alvin McCraney, Brandon Jacobs Jenkins, who did appropriate, I love and all those people. One of my favorites recently in that, he was a kind of a big influence on it. It's not what it looks like. He did a play called Mass Accursing to Your Children, Jose Rivera, love him too. And then, also Rachel Sennet. And anything, I would ever read this. - Yeah. - In love with my life as well. I think she's amazing. And actually, this is my chance to say, I'm looking into a recast, Chesty's role in the play. And if I want's to do it, I'm so ready for her to jump in. - I'd let you do it, I hope, but. (laughing) - Well, now we have arrived. And my favorite question to ask guests, and I'm so, so excited to hear yours. And that, of course, is what is your favorite theater memory? - I probably will think there's something else, but the first thing that comes to mind (laughing) is last year. I was working on this, like, comedic musical theater piece that two of my friends, Tom Eglio and Carl Oddminton wrote, that was some of the most fun that I have ever had. Doing theater, it was like an hour and a half show where I would play a colonial woman with huge tits. And I would play, like, oh God, what was I, a chicken? I was playing all these different things, and the music was so, so stupid. - And amazing. - And amazing. And I invited my mom to fly out and come see it. It was just so much fun, 'cause it was just friends doing crazy, ridiculous theater. And I hadn't been on stage since college, since getting in here. And so, currently, that's my favorite theater memory that I have the most recent years. - I love that. That is amazing. - Yeah. - That is my kind of show. - Yeah, I was at the Brooklyn Comedy Collective last year. - It's amazing. - Yeah. - John, what about you, tell us your favorite theater memory? - Well, I guess there's just so many favorite theater memories. The one that is coming to mind, and I think it's because she's right next to me. Chesty and I only did, like, what? Two shows? - Two shows, yeah. - She wasn't even in this one. But we, so mine was, I was doing a show called East Nation that the writers of your in town, it's part of, they did this, this thematic trilogy, and it's a new musical about the primordial life forms yeast. And it was just like a big drama, and I was in it. And actually, our director Vincent DeGeorge was directing it, and Chesty was on the crew, and we had just kind of become really good friends. And it was like, I would come off stage to be like, "Oh my gosh, that was so much work." And she'd be like, with the mopping, like, "I'm having so much fun about goofing around." That night, was it after the last show? - Yeah. - After the last show, we're all like, at the cast party, having fun, and she comes in with this massive black guy. Because she, what, you picked up a bench, and was like, "Ha!" and slipped, or whatever. And she just got the gnarliest black guy, and I've been like, "Gosh, no one's been know like what I just went through doing in this show." And she comes in, like, and we're all like, crew black, with a giant black guy. And to this day, that image of her is my favorite image of Chesty. - It was the last thing I had to do on my freshman year tech assignment, was move a foot bench back to the tech room. And I was like, "Oh!" And I hit myself in the eye. It was bleeding down, and it was-- - But you still, you still party with us. - Oh, I made it to the party. I made it to the party. (laughing) - I love that. - Wow, wow, what in every body, what great memories. Those are fantastic, thank you so much. (laughing) Well, as we wrap things up, I would love to know, do either of you have any other projects or productions coming down the pipeline that we might be able to plug for you? - Well, let me tell you this. I have this, this play. - This play, this play. - This play, we're going for almost two years. And it is, you're gonna be so blown away by it. It won the same series that Job won, which is now on performances on Broadway. And if you loved that, you're gonna love this, and we put so much heart and soul into it, that you're just gonna wanna see it again and again, and we'll do it for years to come. - And we're not saying that we don't have jobs lined up. We're just saying that if we did, we probably couldn't, because this show will probably just keep doing more work. - It's gonna blow everyone away. And also, the things I'm working on are usually me waking up at three in the morning in a cold sweat, being like, "I have to write this down." So I don't even wanna mention that right now, but-- - I do have one project. - Oh, okay, please. (laughs) - I just finished the film festival circuit with two of my friends for a movie that we wrote called "Booked" that is about the musical theater college audition process. We just finished our last film festival circuit, film festival circuit, which was in at the Seattle Film Festival, and we won the Audience Choice Awards. So now we're currently, yeah, we're currently in the process of getting it put up for streaming. So hopefully here in the next couple of months, you'll be able to watch our movie online somewhere. You wanna check it out, that's gonna be @bookedmovie on Instagram. (laughs) - You better plug that, you better. - So, but yeah, in the future though, I think John's right. I think this play is just gonna keep going. - I love that, but that leads to my final question, which is if our listeners would like more information about it's not what it looks like, or about either of you, maybe they'd like to reach out to you. How can they do so? - You can please go to www.sohoplayhouse.com to get a little more info about this play and get tickets. You can also follow us on Instagram @INWILLplay in will, that's the abbreviation, @INWILplay. And then you can follow me on Instagram, it's the greatest Instagram ever @JohnPCons. - You can follow me, it is the greatest Instagram ever at Chesney Mitchell. Also, if you follow in will play on Instagram, the ticket link should be in our bio as well. - Yes. - Wonderful. Well, John Chesney, thank you both so much. For taking the time to speak with me, for sharing all your wonderful insight. This has been an absolute blast. I can talk to you for hours and hours and hours. This is so much fun. But thank you so much for your time today and congratulations on this. - Thank you so much. - Thank you. - My guests today have been the amazing Clay Wright and performer John Collins and the phenomenal collaborator and performer, Chesney Mitchell, who joined us today to talk about their show. It's not what it looks like, which is coming off as a winner at the Soho Playhouse Lighthouse series. They want it all friends. And now they're producing the full show July 24th through August 10th at Soho Playhouse. You can get your tickets and more information for this great show by visiting SohoPlayhouse.com. We also have some contact information for our guests, which we'll be posting on our episode description as well as on our social media posts. But y'all, if you have not gotten excited and motivated to see the show by these two incredible artists, energy, and just zest for life, I don't know what else we can do to provide it for you. But you need to get over to SohoPlayhouse.com right now. Get your tickets, come out, join us. We'll make it a stage whisper night out of the theater. The show is it's not what it looks like playing July 24th through August 10th. Now, until next time, I'm Andrew Cortez, reminding you to turn off your cell phones, unwrap your candies, and keep talking about the theater. - In a stage whisper. - Thank you. (upbeat music) - If you like what you hear, please leave a five star review, like and subscribe. - You can also find us on Facebook and Instagram at stagewhisperpah. - And feel free to reach out to us with your comments and personal stories at stagewhisperpahd@gmail.com. - And be sure to check out our website for all things stage whisper and theater. You'll be able to find merchandise, tours, tickets, and more. Simply visit stagewhisperpahd.com. Our theme song is Maniac by Jazzar. Other music on this episode provided by Jazzar and Billy Murray. You can also become a patron of our show by logging onto patreon.com/stagewhisperpahd. There you will find all the information about our backstage pass, as well as our tip jar. Thank you so much for your generosity. We could not do this show without you. ♪ All the way from there'll swear ♪ ♪ I don't care anywhere near your town ♪ ♪ Makes me there ♪