Walter Bilderback: At the heart of The Body of an American is the story of your friendship with journalist Paul Watson, beginning 7 years ago when you heard him interviewed on Fresh Air. The friendship has resulted not only in this play, but a chamber opera and numerous poems, including the volume War Reporter. Without giving away much of the play, has the friendship changed your life?
Dan O'Brien: Absolutely. But my life was already in the process of changing pretty drastically when I met him, so Paul’s story—simply the sound of his voice in that radio interview—was both haunting and familiar. Uncanny. I felt like he would understand what I was going through, and maybe I could understand what I thought he was going through. I knew I wanted to write about him, but I didn’t know how, or whether he’d let me. But I did something I’d never done before: I wrote to a stranger, and he wrote back.
As for how my work with Paul has changed me, I consider him one of my closest friends now, maybe my closest, and we continue to work together, to discuss plans for future projects, to visit each other occasionally in LA, where I live, or Vancouver, where Paul lives when he’s not working abroad. We email each other several times a week, sometimes daily.
When I first started writing, as kid and as a young man, writing was an escape from reality, a way to act out emotional problems on the page and then on the stage; now I want my work to change the way I live, to bring me back from fantasy and towards a greater engagement with reality, towards connection, to bring me into contact with people like Paul, whose stories I find fascinating and/or disturbing and/or inspiring, and then to do what I can to help tell those stories.
Over the summer, Catherine taught a course in her home called The Fall of American Civilization (heavy, right?). Enrollment was light, but the conversation was intense! We are thinking of offering the class once more and wanted to avail Catherine's syllabus. What do you think? Would you take her class? What module would you want to discuss?
From Slasher Films to Reality TV - From Betty Friedan to Dr. Phil, a Glossary for 'Rapture, Blister, Burn'
As one of our sneak-peek audience members stated, there is some "powerful dialogue" in Gina Gionfriddo's Rapture, Blister, Burn! Catherine's summer seminar certainly packs-in quite a bit of information and the conversation among the students is filled with references ranging from slasher films of the 1970s to Reality Television - from Betty Friedan to Dr. Phil. We thought it might be helpful to give you a short primer - a "refresher" if you will - on some of the key references made in Rapture, Blister, Burn.
With the opening of the 2014/15 Season and Rapture, Blister, Burn, we are thrilled to launch Wilma WynTix: Big Theater. Small Prices. Subsidized tickets by the Wyncote Foundation. Our goal is to make the living, adventurous art we create on our stage affordable and available to a much broader audience. This new initiative complements and builds upon the highly successful Virginia and Harvey Kimmel Family Campaign to Build the Audiences of Tomorrow.
All tickets for the four-week subscription run of Wilma productions are now enjoyed by the general public at the subsidized rate of $25 and $10 for students and theater artists. What happens if we extend a show beyond four weeks? Ticket prices will revert to the standard Philadelphia regional theater price of $45 and upgrade fees will apply. That is why we encourage you to come early and come often! We also enlist your support to spread the word: bring friends, family, and colleagues, and help promote the vitality of living, adventurous art in Greater Philadelphia.
Founding Artistic Director Blanka Zizka gives us a few thoughts on our upcoming production of Rapture, Blister, Burn.
In her foreword to The Feminine Mystique (1963), Betty Friedan suggested there was one unspoken question American women asked themselves at night: Is this all? Fifty years later, in Gina Gionfriddo’s Rapture, Blister, Burn, the question is asked again by two forty-something women who have more opportunities than their predecessors had to change their lives. But will they? Can they? And are they truly determined to do so? Gina Gionfriddo, whose Becky Shaw we produced a few years ago, takes on feminist theories and juxtaposes them with messy human desires, needs and wants. She creates a witty, smart, and emotionally-charged comedy that asks many probing questions about sexual freedom, relationships, feminism, careers, love, horror movies, academia, and desires to be fulfilled.
Director Joanna Settle has just moved to Philadelphia to become the new director of the Ira Brind School of Theater Arts at The University of the Arts. Joanna has done lots of developmental work on new plays, including Nine Parts of Desire (which the Wilma created in a seperate production in 2006). Until recently she was the Artistic Director of Shakespeare on the Sound, where she collaborated with composer and rock’n’roll musician Stew. Joanna and Stew are presently working on two different projects; one has just premiered at the Oregon Shakespeare Festival, and the other will open at The Public Theater next fall. I’m very happy to welcome Joanna to Philadelphia and the Wilma.