Stage Whisper
Whisper in the Wings Episode 659
(upbeat music) - Welcome back in everyone to a fantastic new whisper in the wings from stage whisper. We are so excited to be welcoming back our guest on today's show. She is an incredible actress and incredible artist and she's got a great new show that is happening here in New York City. Joining us today, we have the actress Lakeisha May, who is currently in the new production of Dirty Laundry. It's playing now through October 20th at the WP Theatre and you can get your tickets and more information by visiting wptheatre.org. We had such a great time speaking with Lakeisha last time about her production of "Mole Year in the Park" and we are so excited to be welcoming her back today. So let's go ahead and get right down to it. Lakeisha, welcome back into whisper in the wings from stage whisper. - Hi, thank you, thank you. It was nice to be back. Thanks for having me. - I'm so excited to have you here again and to have you here talking about this great show, "Dirty Laundry." As we were speaking before we started, I mean, the cast alone is fantastic. I mean, obviously you're in it, but I mean, this looks like such, such a great show in a beautiful space. I love the WP Theatre. I feel like it's such a hidden gem. Why don't we kick things off by having you tell us a little bit about what Dirty Laundry is about? - Ooh, Dirty Laundry, you know, when you all come see the show and you see it, you will see, you will understand why it's a little bit difficult to explain what it's about. It is a beautifully unconventional play about loss and love and parental relationships and fidelity and the voices in our head. There's literally a chorus that speaks my thoughts and also narrates moments that I'm not in. And so it's mainly about this character, Me, that's my character's name. Me is going through a deep, deep loss of her mother. Her mother passes from cancer within two weeks. And then at the same time, she learns that her father had been having an affair. And so, yeah, it's quite a salacious and intense, but it's also really sad and funny, though, at the same time. The chorus and the cast of characters, as you mentioned, we have Richard Master and Constance Schulman. They are bringing their comedic gifts and talents. And so there's certainly some, and myself as well, there's some comedy within there, but it's quite a heavy, inciting action for the play. - That is a lot there, oh my gosh, wow. So tell me, how is it that you came upon this piece? - So I actually auditioned for the show a week before rehearsal started, which is kind of wild and crazy. Yeah, the truth is they lost an actor and called me up and I auditioned and I booked it the same day. Kelly Gillespie at Manhattan Theater Club, who I love, got me in there and I did my thing. And then I showed up. I was actually in the middle of the summer job that I do where I go to different colleges and universities and I lead like, I facilitate team building, icebreaker type activities for the incoming first-year students. And so I had like a day, literally was my day off that I auditioned and then I was like jumping right back on the road again to like drive to DC or Philly or something like that. And then right after my show ended at Roanoke College in Virginia, I like drove to New York and started rehearsal. - Wow, that, so not the typical process. One goes through with the show. - Definitely not. And so that, you know, you're reminding me when you say that going into the process, especially for a play that's so unconventional, like this is, you kind of have to know everything. You have to know the entire play, especially me. Like the character me. You have to kind of, you have to really know what the chorus is saying and they're talking a lot. And of course I have to know what I'm saying and it's kind of meta in a way. Like they're speaking my thoughts but they don't know everything and sometimes they're wrong. And then they're the actual scenes. So there's lots of layers to this as a performer that you kind of have to dig through. And I'll speak more about that later. But yeah, it wasn't the typical process where you could prepare for like a couple of weeks and like really read and get ready. I just had to jump right in. So I worked out. - That is incredible. So snowballing off of that, I mean, you didn't get as much time obviously to prepare and develop the work. But at the same time, I'd love to know what was it like developing your role and this piece as a whole? - Yeah, it was, it was challenging. You know, now I can say it was beautifully challenging but in the moment it was like, this is really tough because we had some, we discovered like the second or third day that we had to have some rehearsals without the chorus and then times when we would come together because they're literally our times where I will say aligned and the chorus might speak for page and a half before the next line is said between the like characters outside of the chorus. So it was necessary so that we could hear the play without their voices or hear the scene and like get the trajectory of the scene without their voices commenting on everything that we do. And then, you know, new plays are dynamic. Like they're always evolving throughout the process. Like we locked the show on Tuesday and like this past Tuesday, two days ago but we were making changes right up until then. New lines came in, of course new blocking because it was new lines like whole sections cut out. Luckily not too much added. So yeah, so now we just begin the work of like making the play really our own without the director and the playwright and other folks input and just feeling like the gel of who we are and what we wanna express. This play also it is kind of cinematic in a way. It's really strange to say that. And that like I said, while the chorus is speaking, I'm just still sometimes in thought or I have to like just jump in and the scene begins and I'm somewhere else. The play actually starts two weeks before the inciting incident. Anyway, it's a lot of time jumps as well. So developing the play also included that. Like where are we in time and space? And it's a sparse stage. And so you don't have the like things to ground you. You're just kind of like waking up on a stool and here you are and you just sat down and it's lots of things like that. I hope that was clear. - Yeah, it's not that it's so exciting. Well, with the heaviness, truly the heaviness of the show. I mean, right up the gate, explaining the two huge blows that your character goes through. You know, is there a message or a thought you hope that audiences will take away from this piece? - For sure. I mean, number one, that life is precious, of course, as we know and to hug your loved ones super tight. And also something that I think the play without, you know, I mean, this is not a play that really has spoilers. Like I've given you what it is. It's you're seeing how one deals with it. And I think ultimately you, I want folks to come away with some of the hardest moments, moments where you felt like a lot of rage and sadness can still be softened by love and by being open to change. Like, even though like forgiveness is always an option, I guess I should say. Even though that might not be an easy thing and it might not happen. I'm not saying that it happens in this play, but something that is on my spirit as I work through this play is just how letting go is like important. I mean, I literally have to do it as the actor on stage. Like, you have to, my way of working is letting my breath come and go on its own and not manipulating, not doing, like letting things wash over me. So I'm not holding because I'm like crying through half of the play and dealing with these heavy things. And, you know, there, even in those moments of sadness, you find moments of joy, you find moments of laughter. And so I think letting go and that life is precious. So yeah, love one another. - I love that, love that. And it is a great lead into my final question for this first part, which is who are you hoping have access to dirty laundry? - I think any, I mean, it was funny. I was on the website last night and I saw that on the website, of course, they have a disclaimer, like it deals with some heavy topics. So, you know, we recommend that individuals over 14 years old attend, you know. But I think what is beautiful about this play is that I hope everyone has access to it. I hope everyone has an opportunity because, you know, fortunately, unfortunately, and it's weird to say fortunately, but grief is a part of our existence and it's a universal thing. And so I think what Matilda, the playwright, has written is something that all of us can relate to truly. And, you know, of course, naturally, I want people who traditionally don't have access to the theater. I want them to see all of the year, you know, of course. But this play in particular is really reminding us, like I said, that life is precious and that we have to, and that's why it's fortunate, like grief, the impermanence of life not to get all philosophical. It's like, it reminds us to like take advantage of every single moment. And so I think anybody who wants to have a real human experience and that to be reminded of love and life, come see this show. - I love those ideas. That's the only way we're gonna keep our industry alive. That's the only way we're gonna inspire the next generation of artists is if people have the ability to get to the theater, to see the shows, you know? And so I'm praying that the days of the $200, $300 ticket as the cheapest ticket are behind us. But, you know-- - Right. I mean, and I'm so glad you said that because these tickets start at $10. So it's like, come one, come all, please, like it's available. There are a limited amount of those tickets and I, but they go from 10 up to $100. And, you know, for a night of good theater, I think you definitely can't beat that. (upbeat music) - For the second part of our interview, as you know, we love giving our listeners the chance to get to know our guests a bit better. Pull the curtain back, if you will. And I'm so happy that we are getting this chance to have you back on. So I wanna actually change up the first question for this part. And I'd love to know how is it that you came into the performing arts? - Wow, I started off as a kid here in New York City. So I was born in Virginia, we moved here when I was three. And I started school here and lived here until fifth grade. And while here, I was engaged with the 52nd Street Project. When it was actually at the beginning, not to age myself, but it had, it just started. And so I was engaged in that way. And I did some like commercials and feel like little modeling things here and there. And my mom worked in retail her whole life. And so, but really the 52nd Street Project, I remember writing my first play. I actually, a friend of mine, they came a friend when I was doing everybody at Signature, he was volunteering or doing something with the 52nd Street Project and he had them go in their archives and he found the program from when they performed to the play that I wrote at like nine or 10 years old. I think it was nine years old. And it was at Playwrights Horizon, like in that space. And it was wild because my off-Broadway debut happened. It wasn't a Playwrights Horizon play, but it happened in their space. It's actually so generous, which is over my shoulder right over there. And that, it was just wild to me when he gave me, that was like weeping and when he gave me that program, just the circular nature of life and the cycle and just the way there's like a path set that you don't know that you're really on. And sometimes as artists, oh man, it can be tough, like real, real tough, but then you look back and you have as long as you look back, you're like, well, actually, there's some growth that happened. And there's some like, like I've been on this path and on this trajectory for a while. And it just, I don't know, that really just struck me and affected me. So my start was with that nonprofit organization, 52nd Street Project, Building Crafting Plays. And then I did some stuff in high school, Soren 16, not like dead people, but like speech and storytelling and those type of devices and went to grad school. Well, undergrad and then went to grad school at ACT and then just continued on that. But I love that my start was New York and that it came back around with my first, my off Broadway debut being in the same space that I wrote my first play at nine years old. It's just amazing. - I love that. - Oh, Mark is calling, they want your story. That is such a beautiful story. That is the iconic theater story right there. It can't get better than that. Wow. - I need to write it down and get it ready for Hallmark. I love that. - Yes, yes, coming to Hallmark next Chris. You gotta just Christmify it up. - Uh-huh. - Yeah, yeah. Well, I would love to know now, I mean, this is my favorite question to ask guests. What is another of your favorite theater memories? - Another one of my favorite theater. You know what? It's funny, you were talking about quick changes and it made me think of, and I might have talked about this before, I don't know, but it made me think of Jaja's which I was in last year around this time, actually, and I had some quick changes. Like I had a 45 second quick change, a minute quick change, and I'm changing in this show quite a bit as well. So it's been like fresh on my mind, like to talk about this show I'm in currently really quickly. You track time through my character and the changes. And so I'm the only one that changes throughout. So every scene I show up in a different, they're not as quick. I have two where I get assistance, but my favorite theater memory is definitely that time backstage changing in 45 seconds and feeling like, "Oh, shoot, we did that." And like having three people around me, like someone's putting on my taking off a wig and putting on a wig and someone's pantsing, like taking my pants off and helping me take my shirt off and I'm putting my arm in the shirt while pants have been put on and shoes have been, you know, it's just like, "Wow." And then 45 seconds later, I'm on stage as someone totally different and, you know, hopping into that character. And so that is fresh for me. And it just kind of speaks to like the exciting, thrilling nature of live theater. - Yes, yes, shout out to dressers and all backstage with that. That was such a great memory. Thank you so much for that. - Well, as we wrap things up, I would love to know, do you have any other projects or productions coming on the pipeline? We might be able to plug for you. - I, in the spring, will be doing wine in the wilderness, classic stage. And so excited about that. I also, I'm a producer in the film space. And so I have some projects, a project in particular that I'm like fingers crossed and it's looking likely will be on the festival circuit. I'm in 25 and so I'm thrilled. And I'm also creating my own work. Or I guess actually reviving, bringing back some of some work that I've written and putting it out there. And so I'm excited to flex my, like, producing, create my own work muscles and 25 a bit more. But yeah, I do have a show at classic stage that I just said yes to. And I am excited about that. And that's it for now that I know of. I don't know what's going to happen. You know, 2024 is we got a few more months left and we'll see what surprises I'm looking forward to something will land it in my lap. - Yes, from your lips to God's ears, it's got to happen. This is wonderful. - That's right. And that leads to my final question, which is if our listeners would like more information about dirty laundry or about you, maybe they'd like to reach out to you. How can they do so? - Well, you mentioned WPtheater.org or dirty laundry. Also WPtheater on Instagram. And for me, on Instagram, it's kisha_may, K-I-S-H-A_may, M-A-Y like the month. And yeah, my website, kishamay.com, that you can learn more about me. But Instagram is a better way to get current, up-to-date information about what's going on with me. - Wonderful, well, Kisha, it was so, so wonderful to get to speak to you again. And I am just over the moon about this new work. I'm so excited to see it. And I just really appreciate you taking the time this morning to speak with us. So thank you so much. - No problem. Thank you. Thanks for doing this. It's important that we share our stories and we talk about theater and we engage in dialogue about what we do in this space. - Yes, amen, yes. My guest today has been such an amazing artist, an incredible creator. And right now an actress in the production of Dirty Laundry, Lakeisha May. Her show, Dirty Laundry, is playing now through October 20th at the WP theater. And you can get tickets and more information by visiting WPtheater.org. We also have some contact information for our guests, which we'll be posting in our episode description, as well as on our social media posts. But hurry now and get your tickets. There are very limited number of tickets for this production. You are not gonna wanna miss it. Head to WPtheater.org, get your tickets. Come join us Friday, October 4th, when we're gonna be in attendance. We'll make it a stage whisper night out of the theater. This is a wonderful production again. It's Dirty Laundry, playing now through October 20th. And we wanna 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 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 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 Jazar. Other music on this episode provided by Jazar 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. ♪ A long way from there ♪ ♪ I don't care anywhere near your town ♪ ♪ Makes me there ♪