HEY Y’ALL! theater-words is back! After a summer hiatus, it’s time to dust the footlights… so LET’S GO!
First up for the fall is Colt Coeur’s Everything Is Ours, the funny/sad story of a sorta happy couple facing a very unexpected new member. (Favorite line: “I’m not crying — my eyes are allergic to feelings.”) Artistic Director Adrienne Campbell-Holt helms the production which runs thru September 21st at HERE. (You may remember the interview Campbell-Holt gave theater-words for Colt Couer’s last show — it’s a great read available HERE.)
Everything Is Ours playwright Nikole Beckwith was nice enough to answer some questions about her current play, as well as London vs. New York and what to see this season. Check it out…
What was the inspiration for Everything is Ours?
I sat down to write it because I wanted to write the play that I most wanted to be in. Also, I learned from my mom that you are never really ready to have kids and I learned from my youngest sister that you are never really ready to be one, either.
In the play, an egg donor is presented with her biological daughter, and asked to take her in. If you were in a similar situation, what would you do?
Probably what happens in the play. I’d like to think I can rise to any occasion. With comedic timing.
The design is very striking in its off-kilter way. Did you always envision the set that way, or did it come in collaboration with set designer John McDermott?
I didn’t talk with John before the show, but I’m sure Adrienne did. A close friend of mine came to first preview and said, “It looks just like your first apartment in New York,” (where I lived when I wrote the play), and though I hadn’t thought about it before, she was right. The colors and feeling were very much the same, though my apartment didn’t have additions or tilted/odd sized doors. So John is just a very intuitive designer. And a fair amount of the set dressing comes from my own home.
What is it like to work with Colt Coeur?
It’s great and exciting. They work really hard and really fast. I think we rehearsed two weeks for this show, and they built that set in two days — it’s crazy. They really go for it. And they are all also very charming and nice to be around, which is equally as important if you ask me. The cast and creatives and behind the scenes are all terrific human beings, putting so much of themselves into this work. It’s wonderful to be a part of.
You’ve done some work in London. What is it like to be a playwright over there versus in the States?
Theater happens so fast there. I wrote a play [Seven Sisters] at the National Theatre Studio January – March, and by May it was slotted to premier at the Royal Court Theatre in July. The RC came to The Studio, saw the reading, and programmed it based on the reading. They don’t have the same development culture we have; they like a play, they do it. Also, everyone sees plays there, everyone. Theater is much more a part of their pop culture and national identity than it is for us. They devour plays the way we devour movies and television. So, being a playwright in London feels a bit like being a part of a much bigger picture.
You write/draw comics in addition to plays. Are the skills needed for one similar to those needed for the other?
Kind of. It’s telling a story in a finite amount of time. It’s actually more similar to film than it is playwriting because the writing of it is so visual and you are telling the viewer where to look and what to see. Whereas on stage one audience member can have a completely different experience than the person next to them, based on what jumps out at them, who they are watching and how. When I’m writing a comic or a film, I give you your window and open it only as much as I want to. When I write a play, I leave the door wide open.
Seen any good theater lately?
MR BURNS at Playwrights Horizons. It is huge, and scary and true, while also being magical and funny and almost other worldly. But we are that world. I can’t recommend it enough.
Find more info about Everything is Ours HERE.