Stage Whisper
Whisper in the Wings Episode 627
(upbeat music) - Hello everyone and welcome back into another fantastic new whisper in the wings from stage whisper. We are continuing our coverage of this year's Spark Theater Festival NYC, which is happening September 9th through the 29th at the Chain Theater. You can get your tickets and more information by visiting emergingartisttheatre.org. We are so excited to be covering this wonderful festival. It's a great, great event to go out to, perfect for the fall. And on today's show, we've got more of the incredible artists who are bringing their work to this festival. Joining us today, we have the writer and performer, Elizabeth Alice Murray, who's here to talk to us about her show, my, who's here to talk to us about her show, "Concust", the creator and choreographer, Beth Jacobi, here to talk to us about her show "Subway Windows", and the choreographer and producer, Alyssa Myers, who's here to speak to us about her show, absent of. We are so excited to be having such diverse works joining us. So I don't want to waste any more time. I want to jump right into this and welcome on our guests, Elizabeth, Beth and Alyssa, welcome in to Whisper in the Wings from Stage Whisper. - Thank you. - Thank you. - Thank you. - I am so happy all three of you are joining us today and bringing your works to this festival. And I can't wait to learn more about these works. So I want to start with you, Elizabeth, and your show "Concust". - The show is about my recovery from a traumatic brain injury, which I sustained in 2013. I got the injury from fainting and falling off a toilet, so comedy gold. But it was a very long and arduous process where I had to learn how to use all my senses again. I had to learn how to walk and navigate the world. And I immediately thought this would make an entertaining evening of theater. - I love that. Beth, let's come to you with your show "Subway Windows". - Tell us about that. - Okay, so I think it's a lighthearted, kind of fun look at individuals in an anonymous group of people. Sort of a way to perceive the humanity in strangers. I guess that like in times of waiting certainly on the subway when you're in transit, we tend to try to ignore each other. But in this piece, that barrier disappears. First, everybody's kind of annoying each other there. And it's really kind of funny the way it turned out and getting each other's way and like annoying. But eventually we see it's like a bird's eye view of each individual and others come into their spaces and they connect and have ultimately have relationships. And it's kind of like very funny, but also at times very profound. Sort of like it's a weight, 'cause when we're all moving through the world and certainly in the city, there's so many people and we all have our own lives and we're focusing on ourselves. But there are other people and it's like all these strangers have each one of every single person has that same inner life. And so it's a way to connect. And then eventually it's like they help each other. They really help them become who they are as individuals and help them find happiness and joy through connection. So it's sort of like another look at the way the city is perceived in certain, the way the subway is talked about in the media. It's sort of a hopeful and optimistic look at the possibilities in New York City, really. - I love that. Alyssa, coming to you, another choreographer joining us, you've choreographed and produced this piece absent of. Tell us about that show. - Of course, absent of is a contemporary dance work and the idea originated kind of from the title itself. The dancers and I, we dived into conversation about what does that title bring up. We actually did some free writing about it to see whenever we think about absence, that it can tend to have a negative connotation, but it actually isn't true. The absence of things can also be a good thing. And so we were then playing with this dichotomy of what are we absent of in society or our lives or in relationships or just in habits and how those things show up for us. And so it kind of has created this world through a collaboration of discovery that has been very special. And we're just continuing to dive into that. The piece itself has different ebbs and flows because of that dichotomy and go from kind of comedic theatrical elements to a little bit darker places, maybe in someone's mind. So I think that viewers will be able to go through a journey inside of the work. That is very interesting. I love that. Well, listeners, as you can tell, we've got three wonderful and very diverse pieces of work to feature today and to take in at this great festival. And I want to dive a little bit more into this. And Beth, I want to start with you because you sort of already answered this next question, but I'd love to dive a little deeper into what inspired you to create your work. You mentioned paintings were an inspiration. Can you elaborate a little bit more on that? Sure, so I've been in conversation with this artist, Alina Zix, for a while. And she was also a native New Yorker, but had moved away, came back in 2016. And she was fascinated with exactly what I'm talking about, the faces, the lives, the possibilities in each person as she was commuting. And she put it into her paintings because she couldn't stare at people on the subway all day. So she kind of made paintings of this. And I also am very drawn to the fact that everybody has these rich lives. And part of the problems in this world, I might say, is that we're so focused on ourselves in the way we see things. And we sort of don't pay attention to the other people. And we're not compassionate. I mean, we could be compassionate with our families or people, but we sort of forget about those strangers. And I don't know, it's something that's been on my mind a long time. So we talked together and I was going to be doing a new show out here in Long Island where I'm from. And I had gotten a grant to do a Niska Decentralization Grant to do a show. And I definitely wanted to feature a piece like an interdisciplinary dance piece. So, you know, it was going to be a really interesting undertaking because I felt like I had to hold an audition and find the right people and really diverse people. I wanted very diverse dance styles. I wanted the dancers to really be collaborative in this too, to create their own solos. Because I wanted them to connect to the paintings, but also be very much about who they were. And it just kind of like what Alyssa was saying, kind of developed-- I think this is what Alyssa would say-- but it developed collaboratively. And I had these ideas. And each time we'd meet, the dancers would put in their own part, you know, their own selves, very immersed. They were strangers too, most of them, when we started working. So it was almost like it was very related to the piece, strangers on the train and then strangers beginning to create something together. And it just very naturally developed organically. It was very exciting, the whole process. So I love working with other artists. I love creating together. I find that really very joyful and, you know. So I think that was the inspiration. The paintings, the dancers having their themselves be very part of it. And it was a real process. And I think the dancers are wonderful. And I think it's very engaging and interesting and profound, but in a light way so that it's very accessible. I love that. Elizabeth, what about you? I mean, you mentioned that this all came about from a very traumatic incident that happened to you. So, you know, what inspired you to pen this piece and tell your story? - Well, I've done other one-person shows and I'm a storyteller. And I think storytelling is how we, certainly how I understand the world and experience. So I think when some things are very dark and hard, for me, I'm always looking for what's comic about the situation and what's difficult. I want to see how I can bring light to that because I was very lucky that I survived this injury. I was very lucky. It wasn't more, you know, that it wasn't more serious, but it did take me about three years out patient at the hospital before I was able to move about in the world. And it took me about seven years before I was able to sort of return to a more everyday life. So I think that's where I think within two weeks of my having the accident, I thought, oh, I'm going to have to write something about this. So I think that's where the inspiration came. And I've also, I've met so many other people who've had, if not brain injury, but then other experiences of being disabled. We have this whole population of people who have long COVID now in our country. And I think I really wanted to examine how we look at healing. I think as a culture, we like to look at things as you improve, you get better, you go back to how you were. And I was really interested in the idea of you don't, but you change. And how do we see ourselves in light of transformation? So I wanted to explore that. And then I used eating dessert as a way to heal. So I explore my, you know, what the way I deserted my way to health. And I always want to share a good cake with people. - Yes, now you've really sold me. Oh my God. Let us eat cake as Marie Antoinette was in. - Indeed. - That's wonderful. And Alyssa, tell us what inspired you to create this piece absent of? - I usually get inspired by things that I'm experiencing in my own life or that I'm watching my friends or family go through. So this idea really did come out of a place of dissonance that I was experiencing in a situation and how it was not something that I could find a solid answer in. And so my idea of absence of was absent of answers, absent of something grounding and to be in a place that is constantly fluctuating and you don't really know where the boundaries are or where the standard is. And having to navigate that is challenging. And I think that everybody in their life experiences this in some way, depending on the circumstances and what will look different than what my situation is. I think that it is a shared experience of not being able to confidently ground down in a situation, but knowing that you have to be ultimately adaptable and vulnerable inside of those spaces. - That is really fantastic. I love it. So great inspirations across the board. I wanna focus just for a second on our two dance pieces here. Alyssa, sticking with you and I would love to know what has it been like developing your work? - Yeah, we have been kind of creating a shared, I would say a shared kind of bank of movement or these ideas, textures. I usually start with creating phrase work. So stringing some movements together and adding qualitative pieces to them. And then it kind of morphs from there and becomes the dancers. So I kind of feel like from that place we can create a common ground and then we break apart from there. We've been working in different types of groups as well. So the dancers have been all together maybe two times, but besides that it's working with a duet here, a solo here, a trio here. And that ebb and flow and also that fluctuation of who is in the space. I think even adds to the topic itself, like I was explaining before. And it has created a listening that is very essential for the dancers to execute the timing as well as the kind of amount of effort that's needed for each of the sections. So I think that it has given it a lot of life and I'm very excited to see how it turns out. - That's wonderful to hear. What a wonderful journey there. Beth, tell us, what has it been like developing your piece? - So like I mentioned before, I held an audition and then I wanted very diverse people the way they looked and the way they, what their movement style too. Rather than me imposing my style or my experience, I wanted them to really feel confident and strong in their own. And in fact, part of the audition was asking for choreographers, dancer choreographers. So I got tremendous response. And I sort of like came up with some movement games in the audition, which worked really well. And they were good, I realized that actually for the piece itself, I should use some of these ideas. And part of that was like sitting in chairs and moving one part of the body at a time, but sort of in each other's way a little bit, like starting with actually the face and kind of being aware of another person, but still alone, like on the train, like aware of them, but you want to stay individual. You don't want to get into involved and then moving hands and then moving arms and you know, vents and hips and legs. And it got really, really funny. Got really funny. It just was cracking up and everybody was as well. And it was like a really fun atmosphere. And then I realized I really should use that in the piece 'cause it actually is like that. People getting in each other's way, taking too much space. So it developed from there. And I also came up with pieces of music that I thought would be fitting that I love, that I thought would be fitting to the train. And again, we would work in sometimes in groups and sometimes the whole group together, but everybody was feeding off each other and really getting to know each other. But the atmosphere was really fun, like I said. So we started with one group and it was like one way of immersing oneself in the individuality, getting to know each other. Also, we took inspiration from the characters and the paintings. Everybody chose a character that they could relate to or feel like they could understand their life, but also it could be mixed with their own life and who they were. And they worked on developing solos of their own. And we used those solos in the piece. And then we also started working with duets where they could mesh. So it was like really who they were, but also who they were as a character. And they developed stories for themselves. One of them was one of the characters was a mermaid in going to the mermaid parade in the subway paintings. And one of the dancers chose that. She developed her own story of leaving the ocean because it was too polluted and too much violence and coming to New York and feeling like the same sort of didn't get better, but then through contacts, through connections, she really became herself. And so then the second group of dancers really developed a very rich and profound and emotional duets and solos where, I almost found myself crying because it was so rich in emotion. And ultimately I had them all come back together where it was just this one community. And by the end, I decided to use the song shattered by the Rolling Stones about the New York City in the 70s, which sort of became one of them turns on their device and starts dancing, there's almost like a party to that song, which is not necessarily only joyful, but the knit and grit of the city and before they leave and have to go on with their lives. And that was like, it's a transitory moment in transit. And then we go on, but their lives were enriched and they're happier people. And it's sort of like mirrored the theme of the piece, the rehearsal process. - That is so cool, I love that. I love that. Elizabeth, I want to return to your show concussion and I would love to know with, I mean, I keep saying it was a traumatic event, you know, but you're putting this personal story out there. Is there a message or a thought you are hoping audiences take away from your work? - I mean, I certainly hope they're entertained, but I do hope that they get 10 cents worth of knowledge about brain injuries and what they can do in a situation for what they should do. But the larger message, I think is, you know, we're all going into the unknown of ourselves and to have something like this which is so dramatic happen throws you into an unknown place in a very, in a very shocking way, but I feel like everyone is dealing with some sort of change, some sort of loss. And for me, I feel like I would like people to come away with the idea that one can find new meaning in possibilities, even when things go wrong, which, you know, obviously one hope, I hope no one gets a brain injury. But I feel like there are things that we can learn from other people's experience that are always applicable to our own. So if there's a wider message, that's it, you know. - That is a great, great idea there though, I love it. And I wanna start my final question with you, Elizabeth, because I'm curious to know, who are you hoping have access to the show? - Well, ultimately, I would really love to do this show for brain injury. I've done it for some brain injury patients. I've developed it in a workshop with the Emerging Artist Theater two years ago. And then I've also done it with KQ Playwrights. I'm hoping to do it also in medical settings, because I feel like there is, while doctors certainly see patients in clinical settings, I don't think there is a large understanding of what people's lived experience is. And then I'm hoping to do it in settings for people with, I mean, widely, I think that certainly students, I want people to wear helmets. It's really important to protect your brain. It really controls everything. So although that is telling me that right now, so I'm always aware that the brain always has its own agenda. But I think it's important that people learn how to protect their brains, how to protect other people's brains. 30% of the population will have a brain injury at some point in their life. That's millions and millions of people. And knowing more about how our senses and our bodies work is only beneficial. So I would like to improve the medical care, especially for women. And I would like more doctors to be more aware of female experiences in this type of energy. But I would also like to entertain the general public. - I love that demographic that you want to reach. That is so wonderful, so wonderful. Beth, bring us home on this first part. Who do you hope have access to your piece? - Well, I think, you know, it would be wonderful for people who feel isolated, who feel like they're alone, who feel like lost in the city. You know, I think newcomers to the city, I think, you know, or anyone who just doesn't feel connected, you know, and that's a lot of people. And, you know, so like they can see that there, other people are having that kind of experience and, you know, to reach out. And there are people that will find your humanity and, you know, you can connect. And it helps, like connection is so important for happiness, right? We've all learned that. I think people, oh, also I wanted to mention that, you know, aside from the music, I was choosing music I love recordings of, but also I engaged to live musicians, jazz musicians, sort of like the beginning of the piece and one end, the middle of the piece, or the A train, you know, the song The A Train. And I, you know, to jazz musicians, Sunshine and Rose is the name, Rose Gunter and Elise Sunshine, who are also part of the piece. So we also have this great fun live music. So therefore, I think people who love visual art, you know, it connects to people who are interested in all sorts of art forms. Definitely theater because it's, you know, the dance is kind of dance theater. There's a lot of facial expression and acting involved. So yeah, I feel like to the general public, I feel particularly people that are new to the city, people that feel like they're not connecting. I think this is a way to give them hope, you know. (upbeat music) - On the second part of our shows, we love giving our listeners a chance to get to know our guests a bit better. Hold the curtain back, if you will. And I wanna go and just jump right to my favorite question to ask guests. And that, of course, is what is your favorite theater memory? - My favorite theater memory is actually even high school. I went to a remarkable high school where we got to write our own shows and we got this wonderful show, A Lot 4B. And so many of the people who are in that show with me have gone on and become rock stars or famous comedians or all sorts. But it was, I think it's the experience of being in community with other people. And I think there was, think the more there is diversity of experience. I mean, being a disabled performer now, I'm very aware of being in rooms with people who are different for me and who I'm different than and what happens when you start sharing your experience and working on a joke together or working on dialogue together. I just think it's richer than anything that's done alone. And I feel like that first taste of it that I had at 16 was just the most wonderful and I certainly cemented my life in theater ever since. - That is such a wonderful memory. Thank you so much for sharing that. Beth, what about you? What is your favorite theater memory? - Okay, so in terms of myself, so many, I was trying to think about that. It's just so many various things. I mean, you know, performing, first finding the joy of performing way back again. I think also in a high school, I went to high school performing arts back when it was performing arts and not LaGuardia. And, you know, performing and feeling the, again, connection with the audience, the possibilities that are inside of us, feeling so much bigger than oneself, you know, feeling the universality of experience and feeling that individuals, you know, are really capable of that connection. And I became an is a Dora Duncan dancer and that also is, which I did as a child also, all through my childhood, that is an incredible experience to perform because again, it's so rich and it's dance. It's theater, it's music, all as one. And it's you, you know, that individual person who you are. And performing those works is incredible. Bringing that kind of feeling to all of my work, you know, is really important to me, the richness of it. I think my first professional experience was a piece called Julio de Burgos with downtown Ballet Company. And I was the protagonist and taking on this role of a, back when I was in my early twenties, really of a poetist who committed suicide, a Puerto Rican poetist Julio de Burgos who committed suicide. I had the opportunity to take on that role and just fought, you know, enriching my experience of who I could become as me as that character, you know, putting myself into that character. Later on, I, in creating works, there was a piece I did called Dreamscape, it was commissioned by the Long Island Children's Museum about dreams. And it was based on an exhibit about dreams. And I was kind of given carte blanche to do what I wanted to do. And again, the, the creativity of creating a piece of theater or a dance theater is so enriching. It's, you know, it's like what my life is about 'cause I love it so much, you know? And then there are things I've seen that have influenced me, but, but in terms of my own, you know, journey, I love the field and that's why I do it. - I love that, love that. Thank you both so much for those incredible memories. Truly, thank you very much, those were wonderful. Well, as we wrap things up, I would love to know if our listeners would like more information about your pieces or about you, maybe they'd like to reach out to you, how can they do so? So Elizabeth, but your show can cost, how can our listeners get more info? - They can find information by tickets to concussed on the website for the first Spark Festival. It's going to be on September 15th at 5 p.m. They can find me at tallmothernyc on Instagram or threads or at Elizabethalesmerry.com or I think that's my Facebook as well. - How about you Beth in your show Subway Windows? - So, yes, the same thing in terms of finding tickets from the Spark Theater Festival. And it's also on the 15th, Sunday the 15th, my show's at seven o'clock to find out, well, our company is Dance Visions, New York. And the website is dancevisionsny.org. And Instagram is dancevisions.ny. And Facebook, dancevisions.ny. Sorry, dancevisions.ny.ink, I-N-C. And Gmail is dancevisions.ny at gmail.com to contact. - Perfect. Well, Elizabeth, Alyssa and Beth, thank you all so much for taking the time to speak with me today, for sharing these incredible works. They all sound amazing. I don't want to miss any of them. These are just fabulous. So congrats again on the festival. And thank you so much for your time today. - Thank you so much. Really appreciate the forum. - Yes, thank you so much. It was really fun and enjoyable. - Thank you. My guests today have been several of the artists who are participating in this year's Spark Theater Festival NYC. The festival is happening September 9th through the 29th at the Chain Theater, and you can get your tickets and more information by visiting emergingartisttheatre.org. We also have some more information as well as contact information for each of our guests and their show, which we'll be posting in our episode description as well as in our social media posts. But make sure you head to emergingartisttheatre.org now. Get your tickets for these and all the amazing shows that are part of the Spark Theater Festival NYC happening September 9th through the 29th. And we want to add for our American listeners that election day is November 5th. Make sure you are registered to vote, have a plan to cast your ballot and do your democratic duty. You can find out how and where you can register to vote by visiting vote.gov. The future demands that we fight for it now. So 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 stagewhisperpod. - And feel free to reach out to us with your comments and personal stories at stagewhisperpod@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 stagewhisperpod.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 on to patreon.com/stagewhisperpod. 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. (upbeat music) ♪ There anywhere near your town ♪ ♪ Makes me down ♪ [BLANK_AUDIO]