WEBVTT 1 00:00:16.000 --> 00:00:18.280 Coming to you from the dining room table at East 2 00:00:18.359 --> 00:00:22.239 Barbary Lane. Welcome to a special episode of Full Circle 3 00:00:22.640 --> 00:00:27.239 the Podcast. Today we're visiting with artistic director Deborah Block 4 00:00:27.719 --> 00:00:32.159 and actors Arianna Glee and Scott Career from Theater Exile 5 00:00:32.679 --> 00:00:36.640 in South Philadelphia. We recently saw their play Job and 6 00:00:36.759 --> 00:00:41.560 it stuck with me. What an incredibly intense experience. We're 7 00:00:41.640 --> 00:00:43.200 really excited to talk with you. 8 00:00:43.679 --> 00:00:45.520 I am your host Charles Tyson Jr. 9 00:00:45.560 --> 00:00:48.719 And I'm your host Martha Madrigal. Welcome to the Full 10 00:00:48.759 --> 00:00:55.159 Circle Table. Hey, how are you well? Yeah, all speak 11 00:00:55.200 --> 00:00:57.039 at once, It's fine. 12 00:00:57.439 --> 00:00:57.719 Hello. 13 00:00:59.359 --> 00:01:03.880 We're the day before Thanksgiving, so that's exciting, right, It's 14 00:01:03.960 --> 00:01:07.519 wonderful to have you all together. I have so many questions, 15 00:01:08.040 --> 00:01:08.599 how about you? 16 00:01:09.359 --> 00:01:15.200 Yeah, So first I would definitely like to talk about 17 00:01:15.680 --> 00:01:27.280 a job, because Yo, that show was masterfully done and 18 00:01:27.439 --> 00:01:34.000 it is a rollercoaster and I just I guess Debora 19 00:01:34.040 --> 00:01:37.000 would be the one to start this off with. Tell 20 00:01:37.079 --> 00:01:40.519 us about job, what it is about? 21 00:01:42.719 --> 00:01:46.680 What it's about? Oh No, it's a scary question because 22 00:01:46.680 --> 00:01:49.359 it's about so much. It depends how you enter it. 23 00:01:49.400 --> 00:01:52.640 But a woman walks into a therapist office wanting to 24 00:01:52.680 --> 00:01:57.879 get her job back is the simplest answer to that question. 25 00:01:58.599 --> 00:02:05.280 And it's also about discovering truth and hiding and revealing 26 00:02:05.359 --> 00:02:10.560 truth at everyone's own terms. It's about that as well. 27 00:02:11.080 --> 00:02:15.280 And it's about facing what you think is maybe evil, 28 00:02:15.960 --> 00:02:20.719 or facing fears and challenges and how well you you 29 00:02:20.840 --> 00:02:22.560 do that and don't do that? And can you be 30 00:02:22.639 --> 00:02:28.000 your best self? And who are you versus who people 31 00:02:28.120 --> 00:02:31.960 think you are? Is what people see who you really are. 32 00:02:32.360 --> 00:02:35.879 I think the play asks all of those questions and 33 00:02:36.000 --> 00:02:36.840 answers a. 34 00:02:36.800 --> 00:02:38.120 Couple of them. It really does. 35 00:02:38.199 --> 00:02:41.439 And you know, I went between the two of y'all 36 00:02:41.479 --> 00:02:43.599 deciding who I loved and who I hated. It was 37 00:02:44.000 --> 00:02:46.680 that you did and it changed from moment to moment, 38 00:02:47.080 --> 00:02:48.719 you know, I am going to say. You know, And 39 00:02:48.800 --> 00:02:53.800 having having done theater many many years ago, the fact 40 00:02:53.879 --> 00:02:57.599 that two actors can take a stage and hold an 41 00:02:57.680 --> 00:03:01.800 audience captive for the entire length of the show, that's 42 00:03:02.120 --> 00:03:05.080 that's no small task. And what the two of you did, 43 00:03:05.360 --> 00:03:09.159 it's got to bring you out by the time each night. 44 00:03:09.319 --> 00:03:11.400 I mean, how do you how do you all regroup? 45 00:03:12.039 --> 00:03:15.879 That's this's my first question, all right, Anna? How do 46 00:03:15.919 --> 00:03:17.360 you how do you where do you like, do you 47 00:03:17.439 --> 00:03:18.039 shake it off? 48 00:03:18.080 --> 00:03:18.400 What do you? 49 00:03:19.759 --> 00:03:23.840 I think it was especially wonderful to work on material 50 00:03:23.960 --> 00:03:26.639 like this with Scott because I think if you get too. 51 00:03:28.319 --> 00:03:30.240 In your own head about. 52 00:03:30.159 --> 00:03:33.280 The self sacrificial nature of acting or whatever it might be, 53 00:03:34.039 --> 00:03:37.120 rather than where you actually are in reality. 54 00:03:37.280 --> 00:03:39.159 I mean, I was getting to do the thing I 55 00:03:39.159 --> 00:03:40.759 love most in the world with a. 56 00:03:40.520 --> 00:03:43.960 Phenomenal other actor, and every time we walked off the stage, 57 00:03:44.000 --> 00:03:46.280 the first thing out of Scott's mouth would always be 58 00:03:46.319 --> 00:03:49.039 something positive about what we just did, which is a. 59 00:03:49.240 --> 00:03:54.199 Really beautiful trait. Yes, partner, and especially when it's only 60 00:03:54.280 --> 00:04:00.599 us in the show. So I think there's I look 61 00:04:00.639 --> 00:04:05.000 at this show as a true thriller in how it's created, 62 00:04:05.000 --> 00:04:07.719 which means we go to very dark places. But there's 63 00:04:07.759 --> 00:04:12.400 also this energy that comes from the audience that when 64 00:04:12.439 --> 00:04:13.759 we perform as actors. 65 00:04:13.879 --> 00:04:15.199 I won't speak for Scott, but when. 66 00:04:15.080 --> 00:04:17.759 I'm performing, I go, oh my gosh, that's exhilarating. That's 67 00:04:17.839 --> 00:04:21.480 amazing to feel people lean in and really listening and 68 00:04:22.759 --> 00:04:26.360 have an investment in the story, both because of some 69 00:04:26.399 --> 00:04:30.439 of the ethical, moral, you know, very painful things it 70 00:04:30.480 --> 00:04:33.199 talks about, but also because they're surprised because there's a 71 00:04:33.199 --> 00:04:38.639 twist because there's really jump scares in moments they didn't expect. 72 00:04:40.600 --> 00:04:43.279 I had no idea where we were going. I got 73 00:04:43.279 --> 00:04:45.120 to tell you, I had no idea where you were 74 00:04:45.120 --> 00:04:50.920 taking me. And yeah, and I sat there just and Scott, 75 00:04:51.079 --> 00:04:54.279 I don't know how you do this every night either, 76 00:04:55.639 --> 00:04:57.519 because that's a lot to carry. 77 00:04:58.920 --> 00:05:05.279 Well. Yeah, I just first of all, it starts in 78 00:05:05.319 --> 00:05:09.000 the room and rehearsal, and we had a very dead runs, 79 00:05:09.000 --> 00:05:17.360 a very very supportive, safe and collaborative room and and 80 00:05:18.920 --> 00:05:23.759 we you know, having that kind of security and trust 81 00:05:25.079 --> 00:05:29.480 is vital when you're working on material like this. And yes, 82 00:05:29.519 --> 00:05:33.399 to echo what Arianna said, performing with Ariana was an 83 00:05:33.560 --> 00:05:38.040 enormous pleasure and we sort of hit it off right 84 00:05:38.040 --> 00:05:41.639 from the beginning as performers. And uh, it's a lot 85 00:05:41.800 --> 00:05:44.279 like like the live It's a lot like playing music 86 00:05:44.319 --> 00:05:46.279 with someone even though like you know the songs and 87 00:05:46.319 --> 00:05:48.879 the lyrics, but you're playing live in front of an audience. 88 00:05:48.879 --> 00:05:53.480 Something happens and you're kind of adjusting and you know 89 00:05:54.600 --> 00:05:56.839 in the moment, and that's sort of what it felt like. 90 00:05:57.120 --> 00:06:00.279 And that's to me, really really fun. And so it 91 00:06:00.399 --> 00:06:05.519 was not difficult coming down I think or you know, 92 00:06:06.480 --> 00:06:08.560 just in general, I'm kind of like that, I leave 93 00:06:08.600 --> 00:06:15.240 it at the door. But working on a play as 94 00:06:15.319 --> 00:06:19.040 good as this, with artists as good as these is 95 00:06:19.399 --> 00:06:20.720 just fun. Period. 96 00:06:21.040 --> 00:06:23.000 It's gotta be. It's gotta be. 97 00:06:23.160 --> 00:06:26.160 But I just you know, I'm asking obviously from my 98 00:06:26.199 --> 00:06:29.279 own personal but but I would absorb, you know, a character, 99 00:06:29.319 --> 00:06:34.800 and I would think I would need a huge. 100 00:06:32.959 --> 00:06:35.319 I will say, I have a sweet little dog that 101 00:06:35.360 --> 00:06:37.240 I was able to bring with me to Philadelphia. 102 00:06:37.480 --> 00:06:40.639 Oh good, yeah, she's over there. 103 00:06:42.040 --> 00:06:42.720 So I do. 104 00:06:42.879 --> 00:06:45.920 I think in my personal life I felt an effect 105 00:06:45.959 --> 00:06:49.279 in that I wouldn't watch super violent things. Most of 106 00:06:49.319 --> 00:06:53.439 my YouTube most of my YouTube life during this production 107 00:06:53.759 --> 00:06:56.240 was more dog videos, even though I already have a dog. 108 00:06:57.000 --> 00:06:59.079 Like there's little things like that where it's like, okay, 109 00:06:59.319 --> 00:07:02.519 let's let's take care of what we put into our 110 00:07:02.560 --> 00:07:05.759 head because we already know very strong images from the 111 00:07:05.800 --> 00:07:08.000 show or there, and I would try to not get 112 00:07:08.480 --> 00:07:09.639 overwhelmed in that way. 113 00:07:09.759 --> 00:07:12.439 But you know, I think that's that's true for most 114 00:07:12.480 --> 00:07:14.519 people in life. It's just you know, when you're a 115 00:07:14.560 --> 00:07:17.360 little bit stressed in one place, you're gonna take care 116 00:07:17.360 --> 00:07:19.720 of yourself in another way by giving yourself a break. 117 00:07:19.800 --> 00:07:21.879 On what you're consuming on the internet. 118 00:07:21.920 --> 00:07:23.600 I hope, Yeah, you have to. 119 00:07:24.199 --> 00:07:28.879 You know, the concept of just the work that your 120 00:07:29.000 --> 00:07:32.040 character did needs to get back to. 121 00:07:34.839 --> 00:07:35.680 So compelling. 122 00:07:36.519 --> 00:07:40.600 And you know, we start off with this sort of 123 00:07:40.759 --> 00:07:43.439 I don't know, slightly unhinged person, but then it's like, 124 00:07:43.639 --> 00:07:48.000 wait a minute, how would any human and you carry 125 00:07:48.000 --> 00:07:52.839 that so well to like, yeah, just you know, how 126 00:07:52.839 --> 00:07:56.240 does someone carry so much in this world? 127 00:07:56.360 --> 00:07:56.560 You know? 128 00:07:56.639 --> 00:07:59.319 And I don't think I'm giving away too much to 129 00:07:59.360 --> 00:08:02.560 say it. You know, it's about knowing information most folks 130 00:08:02.600 --> 00:08:06.480 don't have access to slash shouldn't have and shouldn't and 131 00:08:07.040 --> 00:08:09.680 perhaps no one should. And then what do we do 132 00:08:09.800 --> 00:08:11.319 with it? And how do we how do we hold 133 00:08:11.360 --> 00:08:14.079 that as humans? Deb Were you the person who chose 134 00:08:14.160 --> 00:08:14.600 the play? 135 00:08:16.879 --> 00:08:19.279 Yeah, I mean I was. I always work with a 136 00:08:19.319 --> 00:08:23.879 group of people, but yees, yeah selected the play. Was 137 00:08:23.959 --> 00:08:27.920 fortunate to see it in New York in the Broadway run, 138 00:08:28.279 --> 00:08:34.000 and immediately felt that it would benefit from the intimacy 139 00:08:34.120 --> 00:08:39.039 that theater exile provides because I always want to find 140 00:08:39.080 --> 00:08:43.600 a show that is better because it's in an intimate space. 141 00:08:43.799 --> 00:08:46.639 Yes somehow, yeah, And so I really felt that it 142 00:08:46.679 --> 00:08:50.480 would that sort of experience as and I said, it's 143 00:08:50.480 --> 00:08:53.440 a thriller that sort of intimacy and have an audience 144 00:08:53.519 --> 00:08:57.600 right there and literally feel the sounds that are going 145 00:08:57.639 --> 00:08:59.639 on around them. I thought it would benefit from it. 146 00:09:00.120 --> 00:09:04.440 I felt like I couldn't get up and leave. I 147 00:09:04.480 --> 00:09:07.879 can't go. We all we all have to sit here 148 00:09:07.960 --> 00:09:12.200 right now. And that's part of it, partly because of 149 00:09:12.240 --> 00:09:12.679 the space. 150 00:09:12.799 --> 00:09:19.879 Yeah, yeah, And you mention your choice for intimate plays 151 00:09:19.919 --> 00:09:23.399 that can exist in an intimate space, and I have. 152 00:09:24.159 --> 00:09:27.960 I've only seen a handful of productions from Theater Exile. 153 00:09:29.279 --> 00:09:31.600 Loved every one of them, but every one of them 154 00:09:31.679 --> 00:09:36.200 has been exactly that intimate taking place in one location. 155 00:09:37.159 --> 00:09:47.679 And if I may really fucked up and it's low key, 156 00:09:47.720 --> 00:09:54.480 what I come to expect, and is that the the 157 00:09:54.639 --> 00:09:57.960 fucked upness, is that something that you you go you 158 00:09:58.039 --> 00:10:02.080 look for in each play or that's just a happy 159 00:10:02.159 --> 00:10:04.559 accident for me in the times that I've won. 160 00:10:06.080 --> 00:10:09.080 No, I think that's that's a little bit of of 161 00:10:09.320 --> 00:10:14.039 our DNA. We like, I really like to dig into 162 00:10:14.080 --> 00:10:17.879 the human condition. We like things to feel timely, to 163 00:10:18.039 --> 00:10:21.399 feel like current, like we should be seeing this right now, 164 00:10:21.639 --> 00:10:23.840 that it makes sense that we're watching it. Right now. 165 00:10:24.039 --> 00:10:27.000 But when you get into the truth of the human condition, 166 00:10:27.120 --> 00:10:32.960 we're messy there, and and and we all have a 167 00:10:32.960 --> 00:10:37.799 little fucked upness within us, and most of us, I 168 00:10:37.840 --> 00:10:40.320 think try and put the good face and do our 169 00:10:40.440 --> 00:10:43.799 best journey. I think both of these characters we're trying 170 00:10:43.840 --> 00:10:48.440 to be their best selves through the whole journey, because 171 00:10:48.480 --> 00:10:50.159 I think that's what we try to do. But when 172 00:10:50.159 --> 00:10:53.720 you reveal what's going on underneath, it gets complicated and 173 00:10:53.799 --> 00:10:58.440 messy and dirty. And I don't think we can fix 174 00:10:58.480 --> 00:11:03.200 things or understand things if we don't dive into that. 175 00:11:03.440 --> 00:11:07.480 So I'm not surprised that of the handful of things 176 00:11:07.960 --> 00:11:10.159 there was a through line of fucked upness. 177 00:11:10.240 --> 00:11:15.840 Okay, Okay, So it wasn't just a happy accident, Okay, No, I. 178 00:11:15.799 --> 00:11:17.960 Mean, I mean there might be some things that you 179 00:11:18.000 --> 00:11:21.799 wouldn't describe that way. But I don't know, Scott, You know, 180 00:11:21.879 --> 00:11:24.559 our work is as well as anyone. What do you think. 181 00:11:26.399 --> 00:11:38.320 Yeah, I like that that Exile chooses plays that challenge 182 00:11:38.519 --> 00:11:43.120 and engage with you. You know, it is not you 183 00:11:43.120 --> 00:11:48.399 don't go to theater Exile to be nostalgic or to 184 00:11:48.559 --> 00:11:57.240 be you know, modified, or or you know, have you know, nice, 185 00:11:57.320 --> 00:12:03.320 easy experience, but it's always entertaining and engaging and sort 186 00:12:03.360 --> 00:12:08.399 of uh, asks you to look at things from a 187 00:12:08.440 --> 00:12:13.600 different perspective, ask you to re examine things that you 188 00:12:13.720 --> 00:12:19.240 thought you understood really well and uh. And so it's 189 00:12:19.600 --> 00:12:24.080 and again the audience knows why they're there and is 190 00:12:24.159 --> 00:12:27.639 excited to be there, and that's very gratifying to be 191 00:12:27.679 --> 00:12:28.080 a part of. 192 00:12:28.879 --> 00:12:30.960 Just don't come expecting forty second street. 193 00:12:31.039 --> 00:12:36.279 Yeah, I said, said wrong with forty seconds, no second? 194 00:12:36.519 --> 00:12:39.639 Who doesn't want to watch you know, incredible tap dancing 195 00:12:39.679 --> 00:12:40.200 for two hours? 196 00:12:40.440 --> 00:12:41.279 That's not this? 197 00:12:41.320 --> 00:12:42.879 Ain't that. 198 00:12:43.440 --> 00:12:46.399 We got outside and Charles said, well, and I said, 199 00:12:46.679 --> 00:12:51.200 that was not a musical. That's kind of where I was. 200 00:12:52.080 --> 00:12:53.919 That was not a musical. 201 00:12:55.279 --> 00:12:57.720 Music, not even no. 202 00:12:57.840 --> 00:12:59.200 Not even a fossy production. 203 00:13:00.840 --> 00:13:03.519 But yeah, I mean, I think we talked all the 204 00:13:03.559 --> 00:13:09.919 way home just about you know, just unpacking it. And 205 00:13:10.000 --> 00:13:13.279 I think engaged is the right word. You know, it 206 00:13:13.399 --> 00:13:17.799 was so engaging and it led to so much thought 207 00:13:17.879 --> 00:13:23.720 and consideration, and again masterfully and very humanly played in 208 00:13:23.759 --> 00:13:26.960 the ways that we have a mask, in the ways 209 00:13:27.000 --> 00:13:31.360 that we present one way and can can often very 210 00:13:31.399 --> 00:13:35.639 much be another. And what happens when that's confronted. You 211 00:13:35.679 --> 00:13:41.120 know what happens when that's explored in front of us 212 00:13:41.360 --> 00:13:45.440 in real time when we can't get up, because I 213 00:13:45.559 --> 00:13:50.759 really I was riveted the entire time. So yeah, engaging 214 00:13:50.960 --> 00:13:53.720 is I think the right word that I've always kind 215 00:13:53.720 --> 00:13:56.080 of put to Theater Exile, that that's what I expect 216 00:13:57.320 --> 00:14:01.559 and never disappoint. And that was actually the difference. 217 00:14:01.759 --> 00:14:04.879 Seeing this last show with you. That was the first 218 00:14:04.879 --> 00:14:07.600 time because I always used to go before we got together, 219 00:14:07.639 --> 00:14:12.200 go to things by myself. So after I experienced what 220 00:14:12.279 --> 00:14:16.159 you guys gave, normally have to sit with it by myself. 221 00:14:17.519 --> 00:14:20.919 It was good to be able to express with someone 222 00:14:20.960 --> 00:14:25.080 else for a change, because whocha like, just to give 223 00:14:25.120 --> 00:14:27.960 you an idea, Like the first thing I ever saw 224 00:14:28.759 --> 00:14:30.840 I don't even remember how many years ago was Bug 225 00:14:32.720 --> 00:14:36.759 and that show. Well i'd seen the I'd seen the 226 00:14:36.799 --> 00:14:39.279 movie first, which is why I was like, oh my god, 227 00:14:39.320 --> 00:14:47.399 they're doing that, and so yeah, same thing. You get 228 00:14:47.879 --> 00:14:55.639 that human condition, who are we really? The mask falling 229 00:14:55.679 --> 00:14:58.440 off and what looks what does it look like underneath? 230 00:14:59.639 --> 00:15:01.000 I like that through line. 231 00:15:01.480 --> 00:15:02.200 I know that. 232 00:15:03.720 --> 00:15:08.440 You know there's an entire season's offering. Uh from Theater 233 00:15:08.559 --> 00:15:12.559 Exile Debora talk to us about you know, what are 234 00:15:12.639 --> 00:15:15.600 the other things that are going to be coming at us. 235 00:15:15.679 --> 00:15:18.200 Job has officially closed, now, am I right about that? 236 00:15:18.679 --> 00:15:18.879 Yeah? 237 00:15:19.000 --> 00:15:22.679 Job closed on on Sunday. We were thrilled that the 238 00:15:22.840 --> 00:15:27.320 playwright joined us on the end and the director New 239 00:15:27.399 --> 00:15:30.840 York joined us for the final production, and that was 240 00:15:30.879 --> 00:15:34.639 really lovely. We were they were very happy with our production, 241 00:15:34.679 --> 00:15:35.799 which made me very happy. 242 00:15:36.000 --> 00:15:37.360 You've got a very more recommendation. 243 00:15:37.480 --> 00:15:37.759 Right. 244 00:15:38.399 --> 00:15:41.399 We did, We did, and I think everyone did a 245 00:15:41.399 --> 00:15:44.799 great job. I think the design team was just yes, 246 00:15:45.080 --> 00:15:47.519 just spot on. You walk in and you think, you 247 00:15:47.600 --> 00:15:51.159 know what that space and is beautiful, inviting, and it 248 00:15:51.360 --> 00:15:57.159 just transforms in such a dramatic way. So I think 249 00:15:57.279 --> 00:16:01.960 everyone did just a fantastic up on it. The next 250 00:16:02.000 --> 00:16:04.399 thing that's up for us is that we do a 251 00:16:04.480 --> 00:16:09.039 series called Silly Grit, which we bring in a couple 252 00:16:09.080 --> 00:16:14.440 of usually local artists and who are artists generating their 253 00:16:14.480 --> 00:16:18.320 own work. It's devised work, it's direct to dress work. 254 00:16:18.399 --> 00:16:23.559 It's usually one person pieces, and they probably existed before 255 00:16:23.600 --> 00:16:27.559 the kind of like fringe style work, and and we 256 00:16:27.639 --> 00:16:31.039 do a series. They play in rep and then we 257 00:16:31.159 --> 00:16:35.600 have a cabaret speakeasy that happens one night with Cookie 258 00:16:35.639 --> 00:16:40.480 Diorio leading that. And so it's these pieces in rep 259 00:16:40.480 --> 00:16:43.720 and the two shows that we're doing. This is the 260 00:16:43.799 --> 00:16:50.799 official announcement. I guess is a Vacation by Bastian Carboni, 261 00:16:51.519 --> 00:16:56.200 and it's a journey goes on vacation to purgatory. He's 262 00:16:56.240 --> 00:17:01.919 an influencer and sees what sort of damage the entitlement, 263 00:17:02.039 --> 00:17:05.640 even through purgatory you can create. And it's really it's 264 00:17:05.680 --> 00:17:11.960 funny and weird and definitely goes dark and inside the 265 00:17:11.960 --> 00:17:16.200 mind of Bashian Carboni. And then the next piece is 266 00:17:16.240 --> 00:17:22.200 by Justin Jane, who's a wonderful performer in Philadelphia. He's 267 00:17:22.240 --> 00:17:25.680 doing a piece called The Dangers of Tobacco, which is 268 00:17:25.720 --> 00:17:30.240 built off of Chekhof but he it starts with them 269 00:17:30.359 --> 00:17:34.200 kind of breaks open and it explores his journey, his 270 00:17:35.160 --> 00:17:39.279 family's journey here to the United States and talks a 271 00:17:39.279 --> 00:17:43.279 little bit about place and who we are and and 272 00:17:43.400 --> 00:17:45.680 sort of embracing the truth of who we are. And 273 00:17:45.759 --> 00:17:52.079 it's really interestingly told with total levels of reality and 274 00:17:52.119 --> 00:17:55.559 there and so those are those pieces, and we're going 275 00:17:55.640 --> 00:17:59.599 to end our season with a play called The Great 276 00:17:59.680 --> 00:18:02.799 Private How to Flip ten cents into a dollar by 277 00:18:03.400 --> 00:18:08.599 Nia Aquila Robinson and is It takes place in Philadelphia 278 00:18:08.640 --> 00:18:13.720 on the original cemetery location of the original cemetery of 279 00:18:13.759 --> 00:18:19.640 Mother Bethel Church, and it takes place in eighteen thirty 280 00:18:19.759 --> 00:18:23.720 two and the present and in the same location. And 281 00:18:23.920 --> 00:18:26.880 the place starts with a mother and daughter standing over 282 00:18:27.039 --> 00:18:31.160 newly dug graves and trying because they hear that they 283 00:18:31.160 --> 00:18:34.319 are grave robbers that come. And eventually a student from 284 00:18:34.440 --> 00:18:38.640 Jefferson shows up with a shovel. And so it's really 285 00:18:38.680 --> 00:18:45.839 about protecting your family. And the Truth of Again is 286 00:18:45.880 --> 00:18:49.480 about unearthing truths in terms of what is good for societies, 287 00:18:49.519 --> 00:18:51.200 what is good for a human and it jumps to 288 00:18:51.240 --> 00:18:54.920 the present and it has parallel experiences and it sort 289 00:18:54.960 --> 00:18:58.799 of takes the harm that's done to black bodies through 290 00:18:58.839 --> 00:19:02.160 the generations and how do we accept what we cannot 291 00:19:02.240 --> 00:19:05.680 change and find joy where we can find joy and 292 00:19:05.880 --> 00:19:10.400 just facing the truth and lifting a paintbrush or a 293 00:19:10.480 --> 00:19:13.519 hand or an arm and saying, I take my truth 294 00:19:13.559 --> 00:19:15.519 in and I put it out there for people to see. 295 00:19:15.559 --> 00:19:18.839 And it's really a beautiful, beautiful play. And this will 296 00:19:18.839 --> 00:19:21.200 be its first production in Philadelphia. 297 00:19:21.359 --> 00:19:23.160 Oh wow, Okay. 298 00:19:22.799 --> 00:19:25.279 And I feel like I have an idea of where 299 00:19:25.319 --> 00:19:28.759 this goes towards the present day, but I'm not going 300 00:19:28.799 --> 00:19:30.599 to take too much stock in that because I learned 301 00:19:30.599 --> 00:19:32.920 a long time ago when when you think you know 302 00:19:33.000 --> 00:19:36.000 where something's going, you probably don't or at least not go. 303 00:19:39.839 --> 00:19:42.319 Now, well, we see either of you, Scott or Ariana 304 00:19:42.400 --> 00:19:45.039 and again in this season. 305 00:19:46.680 --> 00:19:48.000 At Theodore Eglielmilk. 306 00:19:48.480 --> 00:19:51.799 Okay, well, we do want to know what else you're doing. 307 00:19:52.000 --> 00:19:54.640 By the way, I will be there in the audience. 308 00:19:54.839 --> 00:19:58.519 Oh okay, that counts fantastic for me personally. 309 00:19:58.839 --> 00:20:03.039 Okay, Now, you you mentioned coming to Philadelphia, So were 310 00:20:03.039 --> 00:20:03.960 you based. 311 00:20:04.519 --> 00:20:08.319 I'm based in New York. I was the understudy on 312 00:20:08.359 --> 00:20:12.759 the Broadway production of Job. Oh well, and then. 313 00:20:12.960 --> 00:20:15.880 I had a very close relationship to Max, our playwright, 314 00:20:15.920 --> 00:20:19.319 who's just brilliant, and he had such a love and 315 00:20:19.359 --> 00:20:22.039 respect for Philadelphia theater exile. 316 00:20:22.079 --> 00:20:23.480 He has roots in Philly. 317 00:20:23.240 --> 00:20:26.160 His dad works there, all these things, and so he 318 00:20:26.920 --> 00:20:30.039 wanted to take particular care of the production of Job 319 00:20:30.119 --> 00:20:34.240 in Philly and helped connect me in Deborah and I 320 00:20:34.279 --> 00:20:38.640 auditioned against some really incredible local local actors and. 321 00:20:39.240 --> 00:20:42.240 Luckily it all worked out. Met Scott at that audition 322 00:20:42.400 --> 00:20:46.960 and really hit it off and yeah, yeah, and the rest. 323 00:20:46.839 --> 00:20:52.319 Is history did it was so amazing. What's next for you? 324 00:20:52.400 --> 00:20:53.160 Do we know yet? 325 00:20:54.119 --> 00:20:56.799 I did just doing a wonderful audition, hustle. 326 00:20:56.920 --> 00:21:01.279 I teach acting, and so I'll be teaching teaching some 327 00:21:01.359 --> 00:21:03.920 acting at Patrick Page Studio here in New York and 328 00:21:04.559 --> 00:21:08.559 online at my Acting Coaching online dot com. 329 00:21:08.119 --> 00:21:09.519 Which I founded and work on. 330 00:21:10.960 --> 00:21:11.279 Nice. 331 00:21:11.400 --> 00:21:12.759 Yeah, and the rest is I guess. 332 00:21:12.799 --> 00:21:15.480 The very next thing is I'm in the upcoming season 333 00:21:15.480 --> 00:21:20.079 of The Night Agent on Netflix. So when that releases, awesome, Okay, 334 00:21:20.319 --> 00:21:21.400 see me acting there. 335 00:21:21.799 --> 00:21:25.839 Okay, we definitely want to share, you know, in the 336 00:21:25.880 --> 00:21:28.559 notes of the episode, if you'll send us your information 337 00:21:28.680 --> 00:21:31.640 for the online acting classes, because I can already recommend 338 00:21:31.720 --> 00:21:39.000 them seeing your work. Because Scott, what about you? What's 339 00:21:39.799 --> 00:21:41.240 are you based in Philadelphia? 340 00:21:42.079 --> 00:21:42.880 Yeah? I live here? 341 00:21:43.039 --> 00:21:43.400 Okay. 342 00:21:45.000 --> 00:21:48.759 My next thing is I'll be at Quintessants Theater in 343 00:21:49.039 --> 00:21:54.799 Mount Airy in February in a show called Rare Accidents, 344 00:21:54.880 --> 00:21:59.839 which is Alex Burns, the artistic director, has sort of 345 00:22:00.279 --> 00:22:06.000 together Shakespeare's Henry four parts one and two and sort 346 00:22:06.039 --> 00:22:10.480 of focuses on the false staff how relationship. I'll be 347 00:22:10.519 --> 00:22:17.000 playing Falstaff. And then in May April May, I'll be 348 00:22:17.119 --> 00:22:22.359 at the Walnut Street Theater in seventeen seventy six the musical. 349 00:22:22.799 --> 00:22:24.839 But yeah, I'm playing Ben Franklin. 350 00:22:25.480 --> 00:22:28.400 We'll have to let Kathy know that seventeen seventy six 351 00:22:28.720 --> 00:22:29.799 is me. 352 00:22:29.960 --> 00:22:31.359 To down my goodness. 353 00:22:31.480 --> 00:22:36.200 My sister is, yes, a big fan all musical theater almost, 354 00:22:37.119 --> 00:22:38.319 so I. 355 00:22:38.279 --> 00:22:41.799 Just want to take a moment and give a shout 356 00:22:41.799 --> 00:22:50.079 out to Philadelphia Theater and it's many practitioners. Theater Exile 357 00:22:50.559 --> 00:22:56.359 has been devor how how old is Theater Exile Now we're. 358 00:22:56.200 --> 00:22:57.759 In our twenty ninth season. 359 00:22:58.440 --> 00:22:59.960 Yeah, that's what I thought. 360 00:23:00.519 --> 00:23:04.039 Yeah, Theater Exile has been a jewel in the crown 361 00:23:04.960 --> 00:23:11.000 for going on three decades, and I love it so much. 362 00:23:11.039 --> 00:23:16.200 I love the quality of every aspect of the theater, like, 363 00:23:16.200 --> 00:23:22.759 for instance, in job, every element worked in harmony, like 364 00:23:22.759 --> 00:23:26.480 the sound design and the lighting design in particular, you 365 00:23:26.559 --> 00:23:30.359 were just in this world and you're jarred in and 366 00:23:30.440 --> 00:23:35.519 out of it with such precision, and that takes such skill. 367 00:23:36.119 --> 00:23:39.839 And I just wanted to, you know, give the entire 368 00:23:39.880 --> 00:23:43.319 production team their flowers, because. 369 00:23:43.480 --> 00:23:46.319 Yes, because when sound and lighting are not spot on, 370 00:23:46.839 --> 00:23:47.440 you don't want. 371 00:23:47.279 --> 00:23:48.640 To sit with Charles in a theater. 372 00:23:49.119 --> 00:23:56.240 This is also true. I have been known to point 373 00:23:56.279 --> 00:23:59.880 out not during the show necessarily, sometimes I can't help it. 374 00:24:00.119 --> 00:24:02.519 I will point out things that you can't help us 375 00:24:02.519 --> 00:24:03.359 should have happened. 376 00:24:05.039 --> 00:24:05.200 Well. 377 00:24:05.200 --> 00:24:07.240 I'm also one of those people that like the first 378 00:24:07.279 --> 00:24:09.680 thing I do when I go into a theater, like 379 00:24:10.039 --> 00:24:12.160 I look at what the setting is on the stage, 380 00:24:12.200 --> 00:24:13.839 and then I look up and see what we're working with. 381 00:24:13.880 --> 00:24:14.319 That I get. 382 00:24:14.440 --> 00:24:15.400 I can't help myself. 383 00:24:16.480 --> 00:24:21.640 But he'll just like, well, that was a choice clearly 384 00:24:21.680 --> 00:24:24.400 not the one you would have made. So it's it's 385 00:24:24.440 --> 00:24:27.240 an interesting way, you know, from the production standpoint to 386 00:24:27.319 --> 00:24:29.440 try to watch a show. And we were not taken 387 00:24:29.480 --> 00:24:33.799 out of the show once, So krudos because it happened. 388 00:24:33.480 --> 00:24:36.680 Nor did we expect to be all and and that's 389 00:24:37.079 --> 00:24:44.119 you you mentioned, like again the intimacy of theater exile Deborah. Again, 390 00:24:44.400 --> 00:24:48.279 that's something that I did notice. How you do a 391 00:24:48.279 --> 00:24:53.200 lot with a little and I mean, obviously it's a 392 00:24:53.240 --> 00:24:55.160 it's a choice because you pick things that work in 393 00:24:55.160 --> 00:25:00.279 an intimate setting, Like is it the bare bonesness of 394 00:25:00.279 --> 00:25:08.319 of a budget? Is it an artistic challenge? Yes, because 395 00:25:08.359 --> 00:25:11.319 every every time it's it's successfully done that way, like 396 00:25:11.599 --> 00:25:13.839 maximum minimalism, I guess we call it. 397 00:25:15.880 --> 00:25:19.440 And we are a very small company. I mean that's 398 00:25:19.519 --> 00:25:24.960 the truth. Our budget is very small. We're in South Philadelphia, 399 00:25:25.440 --> 00:25:30.400 you know, so it's there's there's a truth to that. 400 00:25:30.480 --> 00:25:33.680 But I believe in the power of creativity, and most 401 00:25:33.680 --> 00:25:35.720