Alondra Was Here
nytheatre.com q&a preview by Chisa Hutchinson
March 20, 2013
What is your job on this show?
What is your show about?
Through a wild amalgamation of theatre and street art and audience participation, ALONDRA WAS HERE tells the story of a young woman who loses her sister-- and finds herself-- in a brutal police state.
What type of theater do you like most to work on?
Theater that can make people laugh and cry and then get into an argument in the bar right after, and then maybe have them Googling shit at like 3:26 in the morning, or donating to a cause, or second-guessing themselves when they do or say something that might offend some person who belongs to a group that doesn't feature prominently in their lives...the kind of theater that, months-- maybe even years--later has someone somewhere going, "You know, that reminds me... I saw this play once..." THAT'S the kind of theater I like to work on.
Complete this sentence: My show is the only one opening in NYC this winter that...?
...maaaaaay get audiences high on paint fumes.
Are there any cautions or warnings you’d like to make about the show (e.g., not appropriate for little kids)?
ALONDRA WAS HERE is what you might call a "grown-and-sexy" show. Not exactly family friendly, what with the violence and the sex and the vandalism and the f-bombs getting dropped in like every other sentence. The play deals with some pretty heavy stuff. In a darkly funny kind of way, granted, but still. Heavy.
Which famous person would you most like to get a fan letter from: Meryl Streep, Lindsay Lohan, Steven Spielberg, Philip Seymour Hoffman?
What, no famous black people? Oh, I see how it is. Fuck it. I'm writing in Oprah.
If you had ten million dollars that you had to spend on theatrical endeavors, how would you use the money?
I'd establish a fund for playwrights who want to produce their own shit. This whole endless development limbo thing that's happening lately? Where plays get read to death and playwrights are going "Hey, you remember PRODUCTIONS? Whatever happened to those?" That sucks like 62% the joy out of playwriting. Instead of waiting and waiting for someone to say yes to them, playwrights would be able to say yes to themselves. Because plays should be seen AND heard, right? Right. It'd be called the DIY Fund for American Playwrights. Yup.