Stage Whisper
Whisper in the Wings Episode 653
(upbeat music) - Welcome back in everyone to a fantastic new whisper in the wings from Stage Whisper. We have a brilliant, brilliant, timely show on tap for you today and joining us to talk about it are the two incredible women who are leading the show and they are giving dynamite performances. Today we've got the actresses Meredith Garrison and Kelly McAndrew who joined us to talk about their show that is being presented by occasional draw productions in association with Harbor Stage Company, Blood of the Lamb. It is currently playing now through October 20th at 59E, 59 theaters. And you can get your tickets while they last and more information by visiting 59e59.org. This show is a creator's pick. You will not want to miss it. As we dive more into it, you're going to see why we absolutely fell in love with it, why it's so important for now. And honestly, the performance is being given. Oh, some of the best you'll find here in the city. So with all of that in mind, let us go ahead and welcome on our guests, Meredith, Kelly, welcome into Whisper in the Wings from Stage Whisper. - Hi. - Thank you, hi. - Thank you both for taking the time to speak with me today about your brilliant show, Blood of the Lamb. Oh my gosh, I mean, I could spend the next hour just gushing about how amazing the show was. But I do want to get to the nuts and bolts of things. And Meredith, can I start with you and have you tell us a little bit about what Blood of the Lamb is about? - Well, Blood of the Lamb is about, it's a conversation between two women that happens in kind of a liminal space. It's about a woman played by myself named Nessa, who is flying from Los Angeles home to New York City and has an unexpected thing happen to her on her flight. She's a pregnant woman. And the plane is forced to land in Texas. And then in this liminal space in this room where we find these two women, she encounters Val, who is there to explain to her what's going on, but she doesn't really fully understand the context of what's happening between the two of them. And the play evolves or devolves from there as the two of these women having a conversation. Two women from vastly different points of view and backgrounds who have two very different goals for what's going to happen between them, trying to be strategically vague about the details. Was I too vague, Kelly? - I don't know. I mean, that was so impressive. I mean, I think that was really impressive. I mean, I think that is spot on. I think, you know, I don't, yeah, you don't want to give too much away. - I know, that's okay. - But we are talking about, we are talking about when I think when Meredith does say two very different points of view, we are talking about a right, the idea of the right to life and what does that mean? You know, as opposed to it being a simple, just are you pro this or pro that? - Right. - They're looking at life. What is life? When does it begin? When does it end? Is there a way to value one life over another more? And I think it's a really, you know, it's a really, really, really potent conversation between two very intelligent human beings. - Mm-hmm. - Reliently put, yes. It's a brilliant tennis match, watching it go back and forth. You know, some really great ideas exchanged in that. I'm curious to know, and Kelly, I'm going to, you know, come to you with this. How is it that you two came upon the piece? - Well, so occasional drawl is producing this. And one of the producing partners is, and I believe you've spoken to her, Krista Scott Reed, is basically my chosen sister in life. She's one of my best friends in the whole world. And so she's one of the producers on this, and she came up, she and Brian came across the play that Beth Arlene Hatton wrote, and has been working on producing this for a year. I did not come to this play. I started rehearsals for this play the first day of technical rehearsals, Tuesday, September 10th, for five days before the first preview. Sadly, the actor that was playing Val was injured out in the world, not in rehearsal, and had to step away. And so when Krista called me, being that we are basically family, I said, okay, coach, I'll go in. And so the extraordinary Meredith, and I basically didn't stop running lines for whatever that was, 72 hours or something like that. So I haven't lived with it as long as Meredith has, but I know when I read it for the very first time, I was really, really struck by exactly how timely and how potent, and how tense the play was. I mean, one of the words that I think that occasional draw has been using as they're promoting the play is thriller. And I think it really is. It's that sort of, it's terrifying in that it is a very short period of time. I mean, it's a 65 minute play. And in those 65 minutes, you're very worried about the safety hood of the people involved and what's going to happen. And I think it holds that tautness incredibly well. So jumping into that, being part of something that is entertaining and artistic, but also incredibly political and timely is just something that I've always wanted to do as an artist. So I was thrilled to step in and get to be a part of it and get to work with Meredith. And Marga Bordelon, our incredible director, I have to say that too. This is my third time working with her. So that was another, of course, I'm kind of coming in on Tuesday and do something absolutely insane and do a two person show in five days. But you know, why not? - I love it. Well, Meredith totally kind of already started answering my next question, but I'd love to point it in your direction. And I'm curious to know, what was it like developing this piece? - You know, I saw a reading of this. I saw a reading of this play and just as like, you know, as an audience member, you know, Krista, one of the members of occasional draw, she had invited me to come and see a reading of this. And I remember thinking afterwards, you know, that it was a really timely piece and, you know, how important it was to be having this conversation about reproductive autonomy and the, you know, in this post-row society that we live in now. So it was very intense developing this piece because I myself have my own personal journey with reproductive rights and have had, you know, my, I have had life-saving abortive procedures and I'm so grateful to have had the right to choose in my, in my own, for my own body and my own life. So it felt, it felt really important and also, you know, the cost is high working on a piece like this, just because I think every single person who is capable of pregnancy has been touched and, you know, physically touched because everyone is emotionally, spiritually, you know, politically touched by this topic, but has been physically touched by this question. You know, every, every human being who deals with the question of, of, you know, pregnancy or the ability to carry a child or the question of that has been touched. And, you know, the more people I talk to, the more they say, I have my own story about this. I have my, you know, I have my own experience about this and women or people who are capable of pregnancy are not, they don't always talk about it because there's so much shame and there's so much, there's just, you know, there's cultural taboo around these questions and because it's a terrifying time to live in this country and have no protection, you know, the decreasing amounts of protection over bodily autonomy. So it was an intense process. You know, we talked a lot about Margot led us beautifully with, you know, the intention always of trying to find a way to have these two people have a human conversation because, and I think that priority was really smart because if you have two people, if you have a play that's didactic where immediately, you know, one person's the good, the good guy, one person's the bad guy, there's no, you know, there's no, there's no gray area about, about, there's no humanity offered. You either, you're on a soapbox preaching to the choir already, you know, especially in our case, we're in New York City and most people in New York City are, you know, it's a blue state, you know what I mean? But, or you, you're going to lose people. People are not going to come with you on the ride because they'll immediately say, oh, I see, okay. So if I don't agree with this point of view, I'm not, you know, this isn't for me. I'm the villain, I'm the villain in the audience just, you know, because I don't agree with the point of view of the playwright. And I think Margot really smartly prioritized this being a conversation between, as Kelly said, two intelligent people trying to work through this and meet each other who just happen to have different, different points of views or different ideological perspectives, right? But, so yeah, it was an intense process working on it. But I think we tried to keep the, you know, the emphasis being in the positive direction and how do we reach each other? And instead of it just being like a, you know, blow for blow, you know, cage match between these two people that it is a conversation. And so that, I really appreciated that. But yeah, it's been, it's been very intense, I would say. Very intense working on it. - Meredith, I would, I would so be up to doing a cage match with you. - Yeah, dude. Anytime, let's go. I'd be super fun. That's another one. - I think, and there we go, that's what I mean. We gotta get somebody to write it. - I love that, love that. Well, we have mentioned, I mean, this is a very important topic, a very important issue that you both are talking about in the show. So I'm curious to know, what is the message or thought you hope audiences will take away from this work? And Kelly, if I could start first with you on that? - You know, I just, again, I do feel like we've touched on it a little bit, but I mean, just the continuing conversation is so important. You know, if theater can spark a conversation, if theater can spark, you know, my friend, one of my dear friends came in from out of town and met me before she saw the show, she picked me up at the theater the day before she saw the show. And she, at what I came out to meet her, she said, I just saw five young people that were all between the ages of like 22 and 24 that seemed like they were like on a high. And they were like, we gotta go talk about this play. We gotta go talk about this play. And she was so turned on by that because she's the theater maker as well. And she thought like, what's going on in there that's inspiring that? And that's the thing that I want. I want, I want, you know, I want people, obviously I want this to be a play that entertains people that, you know, and rages people, makes people think, makes people laugh because there is humor in this play that is about such a difficult topic. You know, and I want audiences to, I want them to be challenged. And then I want the conversation to continue that sort of idea of like, what is the complication here? You know, I play a character who is very firmly, you know, set in her beliefs, but we also learn about her that what her entire point of view of the law that she practices is protecting children. Like she put her money where her mouth was there, right? That's her point of view, right? Where it falls apart is in the zealotry of it. But, you know, that idea of like, how do we see these sides of things and where can we meet? And what is the further conversation we can have? And how can more people see this too? I mean, I would love very much, you know, I have friends that live in Texas that are theater makers there, and I sent them the play because I would very much like for this play to be done in places like Texas and Georgia and the South. - Yes, yes, yes. Oh my gosh, yes. I love that. Meredith, what about you? What is the message or thought you hope audiences take away? - I think I want audiences to see these people as deeply human. And to see this question, I want them to leave with a more nuanced understanding of the danger of the time that we live in because this is not a play about abortion. This is not, it's a play about a person's right to decide what happens to their body. So I would like for people to leave with that added nuanced understanding of the danger of the political climate we live in now. Because it is not, you know, I think we, a lot of people opt out of this conversation, opt out of having nuanced thought around this question of, you know, bodily autonomy by saying, well, I don't believe in abortion. And I'm like, well, you can't opt out because the reality is even if you don't believe in abortion, even if you never intend on having an abortion, even if you are a person who has a wanted pregnancy, this affects you. And not just if you're the person, but if you're the partner of or the friend of or any human, you know, it affects you. And it's not an ideological question. It's a medical question. It's a question of human health and safety. And so I would like people to walk out with, with an ability to go, you know, even if one person leaves it and is like, huh, you know, I don't really engage around the question of, you know, Roe v. Wade and it's overturning. I don't engage around the question of these, you know, pro of these pro-life legislators and like, and that agenda because I myself wouldn't have an abortion. I hope that they walk out going, oh, well, this wasn't a play about abortion. And it was terrifying. It's a terrifying reality of what can happen when you take away a person's ability to decide what happens to their own body. So I would love for people to walk out with, you know, an understanding of the gravity of that. - I love that. I love that. My final question for this first part, I would love to know who are you hoping to have access to this work? Meredith, I'd like to start with you on that. - I mean, I think everyone who's old enough to understand about, you know, about their bodies and about reproductive health should see this play. I think, you know, I hope groups of high schoolers come to see it. I think, yeah, I mean, who should have access? I think, I think everyone, I think everyone should have access to this play. It affects, it affects all genders of which there are a massive spectrum. It affects all classes, all age groups. So yeah, if you're old enough to understand what pregnancy means, or, you know, then you should, you should see this play, you know? I mean, maybe not four-year-olds, but like, I guess that's a parent's prerogative, you know what I mean? Anyway, I'm being, I'm being pithy, but yes, I think everyone should see it. - I love it. Kelly, you kind of touched on this in the fact that you've been sending this play out, especially in the places where, where the issue at hand is kind of embarred, but who are you hoping have access to this show? - Everyone, I just gonna echo what Meredith said. I want, you know, I just would, I would just love, I just would love, the thing about theater is I'm always wishing we could widen the audience's, you know, it is, it is historically something that people with money have been able to go to. It can be very, very white. It can be very, very middle, an upper class. And, you know, it, and that's not a bad thing. I'm not saying anything bad about that, but I would love to expand it to younger people, to more diverse audiences, to different ages, to different, you know, people in different social straddas, but that's always been the goal since the American theater started to get formed, or even the world theater, but it's just a hard thing to accomplish. So I just would love if there was a way to do outreach on this, so that every person that wanted to, could see this play. (upbeat music) Well, for the second part of our show, 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 know we are a little short on time, but I can't let you two leave without asking my favorite question to ask guests. And that, of course, is, what is your favorite theater memory? That's such a big question. It's such a huge question. Like, I'm gonna say one, and I'm gonna kiss this by saying, it's not the only one. It's probably not my favorite one, because I don't know how to even, I don't even know what to say about that, but I'll say something that I'll never forget, is the end of Jerusalem with Mark Rylanth on stage, banging, beating his drum, and the wind coming in, and this magical thing happening on stage. That was an incredible sort of core memory for me about the possibility, the scope, the size, the magic of the medium of theater. There's something truly astounding could happen. Oh, and then I just remembered another one, at the end of Octaroon. Oh, yeah, wow. Oh, my God, I'll never forget that. I'll never forget that. Incredible performances, and then this unbelievable design element. Boom, all falling in the cotton, just into the audience. And I literally took my breath away. It was such incredible staging, and in an amazing play. Yeah, those are two moments that come to mind, just off the dome, Kelly. Oh, wow, and this is hard, because I've been fortunate enough to be going to the theater since I was five. And knowing that I'd had to behave myself, and just being wrapped by certain things, like one of the first things I ever saw was you will bring her to the king and I, and I remember thinking, "You don't mean, why does she like him?" I guess for little things like that, I was at the very first performance of August Osage County with the original cast, the end of act two, where Amy Morton looked at the end again and screamed, "I'm running things." Now, the lights went out and I screamed. I screamed. I literally did. I'd never seen acting like that in my life from two extraordinary women like that, and that had stayed with me forever. Yeah, it's so funny how, and it's like these like little, like you said at the end of October, "Oh my God, that's just, that's such an incredible thing." But yeah. I thought of it. I thought of it. Top, top, top, under dog from beginning. Yes. Great. You know, I mean, and also, like I got, like we moved to San Diego when I was 14, and we had season tickets to the globe, and I saw all these magical things that they made there under the stars in the little babies. So that was something too. Like, you know, having a son set and watching things start there. I, it's, I'm gonna think of 400, I have, I think I have 425,000 of them, but. I just thought, I just thought of another one, which was the production all in Russian, the Russian company who brought the cherry or Richard to BAM a couple of years. Well, not a couple of years ago now. I think it was like 2018 or 17. They'd been working on it for like five years, 'cause you know, in other places. You get a rehearsal period for years. Work on a play, five years, you know? And I love that play so much. And I worked on Renov Skaya in grad school for three years. So I felt very attached to the play. And I have, I mean, I wept, I sat on the stage. You could sit kind of on the stage with them, if you, if you wanted. And on these like benches, I sat on the stage and I just wept the entire production because I have, I don't speak Russian, but I understood every single moment that passed between them because it was so clear and truthful. And the acting was so phenomenal. It was, and I, I just remember thinking, wow, check-off is really funny. And I know that, but like check-off is really good at Americans don't fully, sometimes don't know fully how to tackle that, you know? Because it's a particular type of humor. Anyway, I just remember thinking, I'm never gonna see this play done this way ever again in my life. And it was, I went back and saw it twice. That's a, that's a moment. - That's very good. - Okay, Kelly. - Yes, yeah, okay, I've got one more, just going off of that. The Na, Naoko Miyakatikbox National Asian Theater, my wife and I went to go see their production of "Awakened Sing" and Mia's performance as the matriarch of that and that entire ensemble, John Norman Schneider, everybody in that play. I, I, my wife did not know the play and I knew it and I loved that and I talked about something political, something like so incredible. And I remember when that was over the, we were at the on-spocker at the public with where it was, I believe. And they had to ask us to leave because we couldn't stand up. The Ushers had to come and said, you're going to have to leave now. So that, that one, that just made me think about that one because that's taking something that I knew so well, but turning it on its head in such a glorious, amazing way. And I, I will see anything that company does. I think they're incredible. - Wow, what amazing, amazing memories. I love these. Thank you both so much for sharing those. Well, as we wrap things up, I would love to know, do either of you have any other projects or productions coming on the pipeline? We might be able to plug for you. - I'm about to go back to work on season four of the show that I'm on called Resident Alien. Seasons one and two are available on Netflix. Season three is available on Peacock. Season four will be on Peacock and on USA. So that's, that'll be coming down the pipes and then I've got a movie that just got bought by A24. So it's, it'll be out at some point. It's called Friendship. It's with Tim Robinson and Paul Rudd and Kate Mara and lots of wonderful director by the brilliant Andrew DeYoung. That will be coming out at some point, but you know, we're just, just doing, doing what actors do, which is move, move like, you know, from one project to the next. So those things eventually, but yeah, Kelly. - I'm retired. - No, I didn't know I was gonna be doing this play. So it's just sort of a thrill. This is the fifth show I've done in 12 months. So I don't know exactly what's coming up next. I know that in development with occasional drawl, I've been working on a play with Krista and Scott Reeve and Brian Lechworth called Let Her Rip, which is about, it's a by a playwright named Maggie Lee Rader about three women during the match girls during the time of when Jack the Ripper was terrorizing the city and about those three women and they're navigating their unionizing as match girls, along with the violence of what's going on two women. I think it's really special play and I know Krista wants to keep developing it and I plan to be a part of that. Otherwise, you never know. You never know if that phone could bring it at any time or we'll see. - That is fantastic. So you've both got some irons in the fire that we need to keep tabs on and that is a great lead into my final question, which is if our listeners would like more information about Blood of the Lamb or about either of you, maybe they'd like to reach out to you. How can they do so? - I am on Instagram, Mick Andrew Kelly and I have a website that my wife made for me, kellymickandrew.com. And Blood of the Lamb, I know that you can get tickets that 59, 59 and Meredith. - Yeah, sure. You can, yes, 59, 59 on their Instagram or their website, you can get tickets and I am also on Instagram. It's @maridithgarretson who can come and prepare to be underwhelmed. You know what I mean? - On your Instagram? - Yeah. - Yeah, you're Instagram, you got to raise your Instagram, Dan. - I just mean, you know, you can come, give me a follow, sure. If you want to see a lot of pictures of my dog, you know, production photos and I don't know what else, but you're not going to be overwhelmed. You're going to bewhelmed or underwhelmed. - Wow, wonderful. Meredith, Kelly, it has been such an honor speaking with you and taking in the genius that is your performance and this work. So thank you both so much for making the time to speak with me today. Thank you. - Thank you, Andrew. It was really nice to meet you, thanks. My guests today have been two brilliant actresses, Meredith Garretson and Kelly McAndrew, who join me today to talk about occasional draw productions in association with Harvard Stage Company's presentation of Blood of the Lamb. It's currently playing now through October 20th at 59E, 59 theaters. And as I said, you can get your tickets while they last and more information by visiting 59e59.org. We also have some contact information for our guests, which will be posted in our episode description, as well as on our social media posts, but you need to run over to the website 59e59.org and get your tickets. This is a Stage Whisper Creators pick. It's getting rave reviews. It will leave you changed, excited, frightened, whatever you choose to be feeling about what they're talking about, but it's such a brilliant performance and you're not going to want to miss it. Again, it's Blood of the Lamb playing now through October 20th. 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 and 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 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 Stage Whisper Pod. - 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. ♪ All the way from there I'll swear ♪ ♪ I don't care anywhere near your town ♪ ♪ Makes me there ♪