New Ideas: The chaotic metaphysics of life, love & monsters in the water in the funny, moving, poetic Week 3 program

Alumnae Theatre Company continues its 30th annual New Ideas Festival (NIF) of short new works, opening the Week Three program last night. It’s the final week of the festival, running up in the Alumnae Studio.

The Devil and the Deep Blue Sea by Natalie Frijia, directed by Kay Brattan. In 1882 Toronto, 39 people have mysteriously drowned in Lake Ontario—and rumour has it there’s a monster beneath the slate blue water. Rookie reporter Marjorie May (Emma Tse) is determined to get the story, visiting Mary-Anne’s (Stella Kulagowski) pub down by the docks to gather some information. Things get real when they’re joined by the terrified Captain O’Connell (Shawn Lall), who’s barely escaped with his life. As the incoming storm batters the pub, there’s something else out there in the night. Is the creature coming after the Captain to finish what it started?

Nice work from the cast building the intrigue and tension in this 15-minute piece of exaggerated Toronto history. Tse brings a youthful sense of feisty defiance to the young reporter, while Kulagowski is fiery and cynical as the voluptuous barkeep; and Lall’s Captain runs the gamut from frozen terror to gritty resolve as the three stand together in the end.

Marty and Joel and the Edge of Chaos by Camille Intson, directed by Lorna Craig. Chaos theory meets romantic dramedy in this delightful and poignant two-hander played out by four actors. You’ll see what I mean. A couple—Marty (Allison Shea Reed/Kim Croscup), a physicist, and Joel (Simon Bennett/Ryan Bannon), a photographer—occupies the same space in two different times: the day they met and the day of Joel’s second marriage some 20 years later. Constructing and deconstructing the relationship, we see them go from first love to finally working toward some closure.

Beautifully acted and staged. Shea Reed and Bennett are adorably awkward as two 20-somethings getting to know, and falling for, each other. Marty and Joel seem to be perfect complements to each other, with Marty’s adventurous nature and nerdy science knowledge, and Joel’s creative, intuitive sensitivity. As older, more world-weary and disillusioned versions of their former selves, Croscup’s Marty is frustrated and angry, still looking for the answers; and Bannon’s Joel has moved on, but still cares deeply for Marty and treasures their relationship.

The Officiant by Francesca Brugnano, directed by Paige Foskett. It’s 1938, and Shirley (Brianna Riché) and William (Jordan Kenny) have stolen off into the woods, where Shirley has decorated a clearing for them to be secretly married. But when the Officiant (Lisa Kovack) arrives, the wedding service gives them a glimpse into their future together, making them think twice. Is it worth all the pain and suffering?

A lovely, poetic dance of text and movement to tell this story, with moving work from the cast. Riché is brave, romantic and practical as Shirley; and Kenny brings an earnest boyish charm to William. Kovack gives the Officiant a witch-like air of mystery and foresight; cruel to be kind, she means to get real with this couple.

Mourning after the Night Before by Chloë Whitehorn, directed by Heather Keith. When Lucy (Mary Wall) and Drew (Dave Martin) decided to move to a small town, they did it to make to make a quieter, more peaceful home for their family. Making friends with brother and sister Everett (Conor Ling) and Fenwick (Tiffany Deobald), locals who help them get settled, Lucy struggles with her relationship with her daughter Pippa (Grace Callahan), as well as emerging feelings for Everett. Everett is falling in love—but is it with Lucy or Pippa? Drew and Fenwick are trying to keep their respective families safe. Did Lucy miss something in Pippa’s dark, teen angst-filled poems?

Lovely work from the cast in this haunting, lyrical family drama. Wall is wounded and desperate as Lucy; heartbreaking in a life adrift and grasping for a sense of self. Martin’s Drew is heart-wrenching to watch; sensitive and supportive, Drew doesn’t know what to do—and finds himself drifting farther from his family. Callahan gives Pippa an ethereal, creative spirit; a somewhat wild and rebellious teen, she finds solace in writing. Ling brings a sweet, shy romantic edge to Everett; while seeing anew with these new relationships, Everett’s eyes may not be wide open. Deobald is an irreverent charmer as Fenwick; tasked with raising Everett after they were orphaned, Fen is just trying to keep it together, but shows genuine concern for the rift between her new friends Lucy and Drew.

The NIF Week Three program continues in the Alumnae Theatre Studio until March 25. Get advance tickets online or by calling the box office: 416-364-4170, ext. 1 (cash only at the box office). Performances run Wednesday – Saturday at 8 pm, with matinees on Saturday and Sunday at 2:30 pm.

Coming up: Week Three staged reading on Saturday, March 24 at noon. Animal by Romeo Ciolfi, directed by Liz Best; featuring actors Alexandra Milne, Anton Wasowicz, Steven Vlahos and Michele Dodick.

It’s a very popular festival and an intimate venue, so advance booking is strongly recommended. In the meantime, check out the Week Three trailer by Nicholas Porteous:

 

 

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New Ideas: Alternate perceptions, unexplained events & magical connections in the haunting, hilarious, heartfelt Week 2 program

Alumnae Theatre Company opened its 30th annual New Ideas Festival (NIF) of short new works last week; the three-week festival presents a different program of plays each week, plus staged readings on Saturdays at noon. I caught the Week Two program up in the Studio last night.

Sweet Mama and the Salty Muffins by Ciarán Myers, directed by Kendra Jones. Haunted by a catchy Appalachian folk song that sends her back to the moment her three-year-old daughter disappeared at an outdoor concert, a mother (Lisa Lenihan) tries to make us see the sense of her account of the inexplicable aftermath of the event. Do we believe her? Is it all in her mind?

Lenihan is quirky and heartbreakingly lonely as the mother in this 15-minute solo piece. Desperate for someone to believe her and neurotically self-conscious of sounding mentally ill, the mother is confident in what she saw. And she realizes it sounds beyond strange and impossible, but she believes it with all her heart. Maybe because she has to.

If Socrates were in My Shoes by Donna Langevin, directed by Carl Jackson. Set in 1930, Jean (Nicholas Koy Santillo), who’s gained fame as a daredevil, meets down on his luck writer George (Andreas Batakis), who’s working as a cook to pay the bills. George is despondent over not being able to find a publisher for his book and Jean suggests a death-defying stunt to get publicity: going over Horseshoe Falls in a barrel. How far is George willing to go to self-publish his book?

Nice work from the actors in this metaphysical dramedy. Santillo brings an affable charm and cockiness, with a touch of con artist, to Jean; a man with a wife and six kids to feed at home, Jean does what he needs to do to make ends meet. Batakis gives George an interesting combination of melancholy and driven, earnest and fanciful, pensive and desperate. There’s an air of dark, edgy mystery around George. What is the true nature of his intense relationship with the teachings of Socrates?

Stars by D.J. Sylvis, directed by Gillian Armstrong. Two lives revolve around each other thousands of miles apart in this lovely, cosmically magical two-hander. Akia (Alexa Higgins) and Ren (Katherine Cappellacci) have never met, but they’re falling in love in a long-distance relationship as they gaze at the stars during a cellphone conversation.

Playing out this beautifully tender, funny and heartbreaking romance—all in 15 minutes—Higgins and Cappellacci have great chemistry, complementing each other perfectly with this pair of opposites. Higgins is a starry-eyed romantic as the astronomy nerd Akia; and Cappellacci is earthy and cynical as the sci-fi dork Ren.

Moving On by Elmar Maripuu, directed by Helly Chester. Kyle (Michael Ricci) has a brilliant software idea and Shelley (Lena Maripuu) is helping him find an investor. Trouble is the investor she’s putting forward is under suspicion of absconding with Kyle’s small home town pension fund. This problem of conscience is comically compounded by the appearance of Jodie (Rachelle Mazzilli), Kyle’s high school sweetheart.

Equal parts hilarious and heart-wrenching, this three-hander cast does a great job. Ricci’s Kyle is a visionary, and also loyal, good-humoured and sweet. He longs to bring his plans to fruition, but is torn about aligning himself with the man who may have swindled his friends and family back home. Maripuu is a big bundle of madcap fun as Shelley; possessing boundless energy and talking a mile a minute, there’s more than meets the eye as we get a glimpse into Shelley’s past and secret desires. Mazzilli is adorably irreverent and cocky as Jodie; playfully seductive, Jodie isn’t quite sure what’s up with this visit with Kyle. Are old fires lighting up again or are they just riding a wave of memory?

The Week Two program also includes a staged reading on Saturday, March 17 at noon, followed by a talkback. Mirage: The Arabian Adventures of Gertrude Bell by Laurie Fyffe; featuring actors Fallon Bowman, Rosey Tyler, Saphire Demitro, May Tartoussy, Arun Varma, Ethan Saulnier, Sean Dwyer, Matthew Olivier and Erin Humphry.

The NIF Week Two program continues in the Alumnae Theatre Studio until March 18. Get advance tickets online or by calling the box office: 416-364-4170, ext. 1 (cash only at the box office). Performances run Wednesday – Saturday at 8 pm, with matinees on Saturday (with a post-show talkback) and Sunday at 2:30 pm. Check out the Week Three program, running March 21 – 25.

It’s a very popular festival and an intimate venue, so advance booking is strongly recommended. In the meantime, check out the Week Two trailer by Nicholas Porteous:

 

New Ideas Festival: Heart beats, blue feels & the big sleep in trippy, darkly funny Week Three program

Alumnae Theatre Company continues its 2017 edition of the New Ideas Festival (NIF) with a trippy, darkly funny Week Three program, the final week of the fest. The annual festival includes three weeks of short new plays and full-length readings, including four plays and one reading each week, running in the Studio space.

Beat by Dale Sheldrake, directed by Josh Downing. Alone and injured following a near fatal car crash, Evelyn 1 (Jackie Mahoney) is beside herself, as she listens to her heart/inner voice (Evelyn 2: Laurel Schell). Taking stock of her life as she waits for help to arrive, she’s forced to face her inner demons and addictions. Darkly funny, sharp and theatrical; with some lovely spoken word dialogue and strong performances from Mahoney and Schell.

The Ballad of Sadie Wong by Andrew Lee, directed by Cassidy Sadler. Film noir detective story meets modern-day romance when day-dreamy, chipper bookstore clerk Althea (Remi Long) meets volatile, melancholy barista/punk rocker Sadie (Liz Der). Their sharp-witted, fun dynamic goes dark when Althea becomes concerned about how far Sadie will go to reach the top of the marquee. With the help of fictional Detective Ellesmere (Peter McArthur), Althea tries to solve Sadie’s mystery—but is Sadie beyond hope? Nice work from the cast; Long and Der have great chemistry, especially with the punchy dime store detective novel banter.

Who Knocks? by Connie Guccione, directed by David Suszek.  An obituary for a high school classmate gets Rose (Sandra Burley) and Mary (Ruth Miller) thinking about death in this darkly funny look at aging and mortality. Great odd couple chemistry between Miller’s cynical, wise-cracking Mary and Burley’s gentler, good-humoured Rose.

The Hungriest Woman in the World by Shannon Bramer, directed by Claren Grosz. Struggling with ennui and identity, and longing for a way out—it’s through the looking glass for Aimee (Jeanine Thrasher). When her workaholic husband Rob (Armand Antony) refuses to join her for a night at the theatre, she goes off on her own. At the show, she befriends her seatmates, highly extroverted actors Nathan (Jamie Rose) and Julie (Jacqueline Verellen), and stays out all night. Bizarre shenanigans and darkly hilarious times ensue. Shout to the cast; great use of movement and farce-like comedy.

The Week Three program also includes a reading on Mar 25 at noon: Thistlepatch by Catherine Frid, directed by Kelsey Laine Jacobson.

Heart beats, blue feels and the big sleep in trippy, darkly funny Week Three program.

The NIF Week Three program continues until Mar 26 and closes the festival for this year; evening performances at 8p.m. and matinées at 2:30p.m., including talkbacks after the readings and the Saturday matinées. It’s an intimate space and a popular fest, so advance booking online or early arrival (box office opens one hour before show time—cash only) are strongly recommended.

 

 

New Ideas Festival: Attraction, secrets & brave new worlds in eclectic, insightful Week Two program

Alumnae Theatre Company continues its 2017 edition of the New Ideas Festival (NIF) with an eclectic Week Two program. The annual festival includes three weeks of short new plays and full-length readings, including four plays and one reading each week, running in the Studio space.

The Red Lacquered Box by Burke Campbell, directed by Lynn Weintraub. In this one-woman period drama, secretary Madame Gilles (Aleksandra Maslennikova) relates what she knows about the events leading up to the scandalous tragedy involving her employer Madame Tullée. Maslennikova’s Mme Gilles is a fastidious, bright-eyed charmer; a fine performance as she shifts between characters, including the dramatic, effervescent Mme Tullée and her suave, sophisticated lover Derek. What is the significance of that red lacquered box?

Parallax by Michelle Glennie, directed by Ara Glenn-Johanson. Brave new worlds collide in this hilarious, sharp tale of two pairs of friends/colleagues boldly going. Physicist/surgeon Marie Soleil (Melanie Leon) and Expos baseball star Rock (Duncan Rowe) have been selected to train as astronauts for a one-way trip to Mars; part of their mission will be to help populate the new Earth colony. Meanwhile, back in the 1660s, Louise (Wendy Fox) and Laura (Taylor Shouldice) are Filles du Roi, setting off aboard a ship to New France, to help populate the new French colony. What happens when these two pairs meet during an event in the space/time continuum has surprising results.

Y by Rosemary Doyle, directed by Sandra Cardinal. When Lyona (Sandi Globerman) invites Fyona (Alison Parovel), the daughter of close family friends who moved to England, for a visit, her sons George (Aury Barnett) and Henry (Taylor Bogaert) wonder what’s up. Family secrets emerge in a series of flashbacks, including Lyona’s husband Arthur (Barnett), and family friends Thomas (Bogaert) and Helen (Parovel). Actions reveal priorities in this intimate, at times funny, portrait of family and friendship dynamics.

Professionally Ethnic by Bobby Del Rio, directed by Rouvan Silogix. A sharply funny and insightful look at perceptions of diversity and inclusion in Canadian theatre. Young South Asian Canadian actor William (Ronak Singh) finds himself torn between landing a starring role with renowned white artistic director Gerrard (Rob Candy) and his conscience when the job requires that he become a stereotypical multicultural poster boy for the theatre company’s massive rebranding campaign. With a little help from his friends—best friend Kyle (Simon Bennett), who is white, and girlfriend Tracey (Chantel McDonald), a black equity PhD student—he’s reminded of who he really is. LOL problem-solving shenanigans ensue. Really nice work all around from the cast; especially funny is the nightmare presentation scene, where Gerrard and Tracey present their perceptions and findings of William’s situation.

The Week Two program also includes a reading on Mar 18 at noon: Who You Callin Black, Eh? by Rita Shelton Deverell, directed by Donald Molnar.

Attraction, secrets and brave new worlds in the New Ideas eclectic, insightful Week Two program.

The NIF Week Two program continues until Mar 19 and the festival continues to Mar 26; evening performances at 8p.m. and matinées at 2:30p.m., including talkbacks after the readings and the Saturday matinées. It’s an intimate space and a popular fest, so advance booking online or early arrival (box office opens one hour before show time—cash only) are strongly recommended.

 

 

New Ideas Festival: Connection, reflection & living with illness in thoughtful, funny Week One program

Alumnae Theatre Company opened the 29th New Ideas Festival (NIF) with a strong Week One program in its Studio space last night. The annual juried festival includes three weeks of short new plays and full-length readings, including four plays and one reading each week.

Call by Rosemary Doyle, directed by Rebecca Ostroff. A hilarious look at the never-ending hum of talking without communicating, set in a busy office environment where chatterbox Millennial receptionist Sandra (Jennifer-Beth Hanchar) is constantly in conversation with a friend in between fielding business calls. Frazzled HR Manager Laura (Shalyn McFaul) is unplugged on a meditation retreat, struggling to maintain silence and stay off electronic devices. Meanwhile, her skeezy colleague Mark (Andrew Batten, who also wrote a play, included in this week’s program) is covering for her at work, wreaking havoc in her absence with a laissez faire attitude and inappropriate remarks, including a hysterical comedy of errors over some texted photos. In a digital world, with so many devices to connect us, how connected are we really?

Or Not to Be by Andrew Batten, directed by Julia Haist. A heartfelt and genuine, at times funny, look at the Big Question. Thirty-two-year-old actor Ben (Arun Varma) contemplates his life in the big picture as he prepares to play Hamlet in a production directed by his best friend Sebastian (Jason Pilgrim). Putting on a brave face for the world, you’d never know he had a physical and emotional battle raging inside him; and he keeps much of this even from his loving and supportive wife Sarah (Jada Rifkin). Ben finds he must make some choices, no matter how much it hurts the ones he loves. Lovely work from the cast in this thoughtful examination of the meaning of life and death.

Teach Her My Name by Michael Kras, directed by Paige Foskett. A touching portrait of young couple Beth (Kate Schroder) and Andrew (Steven Pereira), new parents whose lives are changed forever when Beth, who lives with mental illness, assaults a woman at a bar. Now only able to see her baby during weekly visits, Beth is desperate to there for her daughter and worried she’s losing her husband. Andrew is doing his best, but is at his wit’s end working long hours and trying to be a father on his own, with the help of their parents. It’s not what they had in mind when they learned they were going to be parents; and Andrew can’t make Beth stay on her meds. How much can love take? A beautiful and intimate piece, with quiet moments full of repressed longing and disappointment.

D Cup by Alicia Payne, directed by Eilish Waller. There’s more than meets the eye when it comes to the women we meet at the mall lingerie store. When Peaches (Barbara Salsberg) leaves her elderly mother Mama (Margaret Sellers) with store clerk Lacey (Claudia Yang) to try on bras at the store while she goes to the washroom, Lacey realizes Peaches has been gone a long time. The highly discerning Candi (Kim Sprenger), a store regular, arrives and is put out that her favourite clerk called in sick. She is soon delighted by Mama, who has a knack for selecting the perfect bras for Candi. Friendships and revelations, and the deep connection between mothers and daughters, emerge in this charming dramedy.

Connection, reflection and living with illness in the thoughtful, funny New Ideas Week One program.

The Week One program also includes a reading on Saturday, March 11 at noon: Riverkeeper by Katherine Koller, directed by Rebecca Grace.

The NIF Week One program continues until March 12 and the festival continues to March 26; evening performances are at 8 p.m. and matinées are at 2:30 p.m., including talkbacks after the readings (noon on Saturdays) and the Saturday matinées. It’s an intimate space and a popular fest, so advance booking strongly recommended: get your advance tix online or arrive early at the box office (opens an hour before show time; cash only).

 

 

A marvelous evening @ Mini-Soulo Festival, ft. Bits & Pieces by Diane Flacks & Katie Ford

Tracey Diane & Katie
Diane Flacks & Katie Ford (front), Tracey Erin Smith (back) – photo by Shy Alter

Last night’s program for Tracey Erin Smith and SoulOTheatre’s Mini-Soulo Festival at Buddies in Bad Times Theatre was a multipurpose, big fun event that combined theatre fundraiser, love-in and new solo works.

Smith played auctioneer throughout the evening, calling out fabulous items that included a ukulele lesson from Jodi Pape (who serenaded us before the festivities began), one night’s rental at Red Sandcastle Theatre, a photo shoot with Shy Alter and a surprise last-minute offering of a year’s membership at Toronto Newsgirls Boxing Club, courtesy of Savoy Howe.

Solo show class student Sara Armstrong kicked off the night’s performances with her show Tripping on the Way out of Town. Featuring personal stories of her life, spanning childhood memories to experiences of sexuality, and bookended with camel rides, Armstrong’s show is unflinchingly frank, and a strong commentary on the assumptions and expectations of others. Peppered with humour and dance breaks, the serious subjects are matter-of-fact and avoid the slide into maudlin. Funny and poignant, keep an eye out for Armstrong and this piece.

For the main event, Diane Flacks and Katie Ford performed a reading of their two-person solo show Bits and Pieces, which received dramaturgical support from Smith. Part stand-up, part monologue, part dialogue between two good friends, Flacks and Ford take us on a trip of life, love and resilience.

From the opening back and forth on everyday things we should just stop doing, to personal experiences of fear and courage, the piece is equal parts autobiographical, inspirational and motivational. Whether performing in character, like Flacks’ hilarious self-involved but present hot yoga instructor, or presenting personal anecdotes – Ford’s musings about a fledgling relationship and whether to keep it at a safe arm’s length or dive right in, and both share heart-wrenching accounts of experiences with death – Flacks and Ford make us laugh, cry and think.

Ultimately, Bits and Pieces is about finding your authentic self, getting back up when you get knocked down – and just staying present. Life really is too short after all. And what if, like Ford’s dog Ollie, you thought the whole world was your friend?

Bits and Pieces is a funny, moving, joyful ride through life’s experiences, and a reminder to stay present and not give up. A work in progress, I look forward to see where Flacks and Ford go with this piece. In case you missed it, check out the cowbell interview with Flacks and Ford.

The Mini-Soulo Festival wraps up this afternoon (Sun, Nov 30) with workshops and a public reading at Red Sandcastle Theatre. Congrats to Smith and SoulOTheatre for winning NOW Magazine’s Reader’s Choice Award for Best Small Theatre Company!

mini-soulo fest

Interview with Diane Flacks & Katie Ford – coming to Mini-Soulo Festival with Bits & Pieces

LobsterComing soon to several theatre spaces around Toronto: Tracey Erin Smith and SoulOTheatre present the Mini-Soulo Festival (Nov 27-30), with workshops at Red Sandcastle Theatre, and performances at Factory Theatre, Panasonic Theatre and Buddies in Bad Times Theatre.

Featuring in the Mini-Soulo Festival on Nov 29 at Buddies in Bad Times is a staged reading of the play Bits and Pieces, written and performed by Diane Flacks and Katie Ford, with dramaturgical support from Smith.

Emmy, Gemini and Dora-nominated writer/performer Diane Flacks is no stranger to writing and performing in solo shows (her own shows Myth Me, By a Thread, Random Acts, and Bear With Me, as well as writing Luba, Simply, Luba for Luba Goy) or intimate two-handers (her work with Richard Greenblatt on Sibs and Care). Flacks is also a featured parenting columnist in the Toronto Star and The Globe and Mail, as well as on CBC radio, and her book Bear With Me, What They Don’t Tell You About Pregnancy and New Motherhood was adapted into a solo show, which she toured across Canada and performed at the Winnipeg Comedy Fest. Most recently, she’s been working as a writer/producer on the critically acclaimed NBC/Global sitcom Working the Engels. Flacks is Nightwood Theatre’s 2014 playwright in residence, developing Unholy, a play about women and religion; and her new two-act drama Waiting Room will have its world premiere at Tarragon Theatre January-February, 2015.

Best known for her work on hits like the film Miss Congeniality and TV sitcom Family Ties, writer/producer Katie Ford more recently wrote the Emmy-nominated TV movie Prayers for Bobby. Starting out as a stand-up comic at Yuk Yuk’s in Toronto, Ford went on to become a playwright – and her play Out in America was produced in New York and Los Angeles, where it was voted as one of the best plays of the year by the L.A. Times. Ford is currently the executive producer of Working the Engels.

I had the opportunity to interview Flacks and Ford about Bits and Pieces – here’s what they had to say:

LWMC: Hi, Diane and Katie. Thanks so much for taking the time to chat with me about Bits and Pieces, and its upcoming reading at the Mini-Soulo Festival.
KF: My pleasure.
DF: Me too!
LWMC: Bits and Pieces is described as a “two-person, one-person show.” What is the show about?
DF: We’re calling it a theatrical conversation. Two stories that echo and reflect each other, and end up pushing each other to reveal something unexpected. Just like one of those great, surprising conversations with a good friend.
LWMC: And what can you tell us about the genesis of Bits and Pieces, and how the two of you came to work together on it?
KF: Diane and I are good friends and when I moved back to Toronto a couple of years ago, I wanted to write a show for her to do – a one-person show. At the same time, I started performing again (I had been a stand-up at the beginning of my career at Yuk Yuk’s in Toronto). Diane and I both performed onstage for a benefit and each did a monologue about ‘fighting;’ it was so fun to be onstage with her – there was such an ease and camaraderie there, I for sure wanted more of that. So we just started developing pieces – writing separate pieces for ourselves that we would read the other and then the other one of us would develop a piece that would be compatible.
DF: And I adore Katie’s writing and performing voice, and wanted to see more of that! We have a unique chemistry and we both are interested in similar themes. We are both provocateurs, but funny. And nerds. It’s such a joy to share a stage with someone you admire and who has your back.
LWMC: Diane, you’ve written and/or performed in several solo shows over the years, as well as some lovely two-handers and intimate smaller cast shows, including a very successful run of Lois Fine’s Freda and Jem’s Best of the Week at Buddies recently. How has that experience informed the storytelling for Bits and Pieces?
DF: A friend of mine says that he always ends up writing to his obsessions. After all these years, I still write and act about the things that obsess, outrage or tickle me. When normal people are disturbed by something, they go to therapy or directly try and resolve it. People like me try and make art out of it. Or at least make people laugh.
LWMC: Katie, you’re more known for your work behind the scenes, creating, writing and producing for some notable hits in film, television and theatre. What’s it been like for you as you prepare to act in this piece?
KF: I know – it has been a lot of years writing/producing and not stepping on stage. But it has been great – having spent many years doing stand-up, when I got back on stage it felt like home. I also took an improv class with Kate Ashby, which was amazing – worked with great women in that class. Bold, funny and they have your back – what more could you want? So it’s been nice. It’s not really acting, as I don’t consider myself an actor, it’s more stand-up pieces with a literary bent.
LWMC: Writing and performing a piece can be a challenge in terms of division of labour, time and energy. Have the two of you been continuing to write and re-write as you rehearse – or are you focusing more on performance at this point? How has the process unfolded as you create this piece?
DF: We’re constantly re-writing! It’s really fun to approach this both as writers and performers at the same time. And of course, it’s much easier to have perspective on someone else’s work than your own. And since these two pieces are echoes or reflections of each other, in a way, when we help re-write each other, we help ourselves, if that makes a weird kind of sense. We really don’t have to worry about division of labour. It’s a labour of love.
KF: True dat.
LWMC: And how did you come to join forces with Tracey Erin Smith and SoulOTheatre?
KF: Tracey came to see us do the first performance of this piece. And she was so amazing and so receptive, and really saw what we were trying to do.
DF: She’s also fascinated by solo performance and stretching the boundaries – this is a pretty good example of that. She’s got great vision and is so generous.
LWMC: Is there anything else you’d like to share about Bits and Pieces?
KF: Really just that I can’t wait to share it. And share the stage with Diane. And that it is a work in progress…but fun, hopefully.
DF: I have a feeling there might be snacks…
LWMC: Anything else you’d like to shout out?
KF: I love the name of your blog/mission statement of “Life with more cowbell.” Nice.
LWMC: Thanks! And thanks again for chatting with me. All the best with your final prep for this performance of Bits and Pieces – and break legs at the reading!

mini-soulo festYou can register for the Mini-Soulo Festival workshops online and follow SoulOTheatre on Twitter.