Bootycandy actor Benja Kay Thomas took a few behind the scenes photos of our amazing cast as they are fitted for costumes. Check out what happens back-stage!
Robert O’Hara’s Bootycandy was inspired in part by the life and music of Michael Jackson. And there’s no better feeling than having composer Lindsay Jones’ re-workings of “Smooth Criminal” and “Beat It” playing in your head after rehearsal. But what strikes me most strongly as a young director about Robert’s work is his calibration of the other music in Bootycandy - the music of his text. Robert crafts the actors’ delivery of his dialogue with great precision. In rehearsal, Robert conducts the symphony of Bootycandy. He waves his arms, snaps to an unseen metronome and gestures at the exact moment an actor should speak to end a beat of silence. At times, he paces around the rehearsal room with eyes shut, listening.
Wilma Dramaturg Walter Bilderback sits with Playwright/Director Robert O'Hara. This is the second part of his interview.
Walter Bilderback: Your plays have run a gamut of subject matters and historical settings. Your first play, Insurrection: Holding History, was about a young gay Black man who takes a wrong turn after a family reunion and finds himself in the middle of the Nat Turner uprising. Antebellum bounces back and forth between Nazi Germany and Atlanta the night of Gone With the Wind's premiere, with a transsexual Black cabaret artist connecting the two stories. Etiquette of Violence imagines the later life of Walter Younger's son from A Raisin in the Sun. What draws you to stories? Do you feel you have a "style" as a playwright?
Robert O'Hara: What draws me to each of my plays is a collection of questions that many times I don't even know I'm asking. My brain is filled with What Ifs and Whys and what I like to call "Who shot Johns." I like history because it allows me to play with expectations and realities. I like creating alternative histories and I think that’s because in many ways I feel like I live in an alternative present. I get to go to these wonderful places and explore my creativity and that simply is not most peoples reality. As for my style. . . I've always thought of my work as the Theater of Choke: I want to choke my audiences. Just so it’s not easily digestible and therefore forgettable. I want them to have to work my plays inside them and feel themselves gasping for air. So if I have a style of writing, I guess it would be. . . Autoerotic Asphyxiation. LOL... yeah that’s my style.
Wilma Dramaturg Walter Bilderback sits with Playwright/Director Robert O'Hara. This is the first part of his interview.
WALTER BILDERBACK: Let's start with the basic: What's Bootycandy?
ROBERT O'HARA: Bootycandy is the name that my grandmother and mother used for the penis when I was a little boy. After seeing the world premiere of this play in DC, my mother turned to me and actually said "It was BooBoo Candy why on EARTH would we call your penis Bootycandy?" and my response to her was "Oh Boo Boo Candy makes oh so much more sense, right???" Regardless I heard Bootycandy... all my life. So I think my Mother is making up some Boo Boo Candy ... that just sounds crazy. Now, Bootycandy... I can kinda understand. LOL...
WB: The play has been described as semi-autobiographical. I'm guessing the stress is on the "semi."
RO: When I watch the play I can see where most of the scenes come from... they are all from real life experience and most of the more surreal things are absolutely true...
Before you set foot onto the deck of the Kingston Jet, the James Joyce, and the Arctic Kestrel Museum in our North American Premiere of Under the Whaleback, check out this five-part series by Dramaturg Walter Bilderback about the rich history, maritime culture, and world-wide impact of Cod Fishing.
In 1994, Canada close the Grand Banks to fishing. The Gulf of Maine and Georges Banks, off the U.S. coast were similarly closed, and have been gradually re-opened. Britain is now a part of the European Union, which means even the North Sea and Irish Sea are commonly fished, with each nation having a quota of the fish they can catch. The center of British fishing has moved north, to Peterhead, Scotland, where the fuel costs to the Orkney and Shetland Islands are much lower than from Hull.
Cod are still being caught, but in much smaller numbers and, perhaps more significant, much smaller sizes. Paul Greenberg's Four Fish: The Future of the Last Wild Food (2010) has a chapter on cod, updating Mark Kurlansky on the state of the American fishing grounds and attempts to farm cod, as salmon and sea bass are being farmed. The prospects don't seem good; in fact, a few days before rehearsals for Under the Whaleback began, the New York Times ran an article that the New England Fishery Management Council had "voted to recommend reductions of 77 percent from last year's catch for each of the next three years for cod in the Gulf of Maine," the healthiest of fishing grounds when Greenberg published his books.