Contained in the making of ‘Who Cares: The Caregiving Interview Venture’

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Voices Pageant Productions’ transferring new work Who Cares: The Caregiver Interview Venture shares the affect of caregiving on the care suppliers themselves. Typically pulled into service as a final resort, on a regular basis individuals see their on a regular basis lives upended by sudden duties, expectations, and duties. The tales are taken from transcripts of interviews with individuals from diverse walks of life coping with the challenges of displaying as much as take care of family members coping with reminiscence loss.

Ari Roth, founding creative producing companion of Voices Pageant Productions, described his intent for the challenge this fashion: “To honor what might have otherwise remained an isolating experience. To be demonstrative where we might have stayed quiet. Something elemental is at play here. Our need to tell the most elemental aspects of life — private stories, family hardship, the stuff of drama — shared in a circle.”

‘WHO CARES’ CREATORS IN CONVERSATION (FROM LEFT): Co-writers Ari Roth and A. Lorraine Robinson, actors Lise Bruneau and Laura Shipler Chico, and dramaturg April Sizemore-Barber.

I spoke to 5 creators of Who Cares — co-writers Ari Roth and VFP creative producing companion A. Lorraine Robinson, actors Lise Bruneau and Laura Shipler Chico, and dramaturg April Sizemore-Barber — in regards to the course of, expertise, and journey of bringing characters to life from transcripts and performing a brand new theatrical work that continues to evolve.

Within the Who Cares playbill, Roth described the work as “part of a larger cultural community conversation, and one of our healthier post-pandemic developments: recognizing the importance of care. We all need it, and we’re all, increasingly, being summoned to give it.” The script includes contributors who’ve been “intimately involved in different caregiving intensities” and weaves the experiences right into a theatrical story.

Ari Roth: These tales come from our midst — from inside our theater neighborhood and past. We’re compelled to take care of family members as an expression of affection but additionally out of a way of duty. But the truth of caregiving’s calls for results in battle, each inside — as a few of us battle emotions of guilt or resentment — and exterior, as we combat uncaring bureaucracies, dismissive social networks, and the pure despair from being near illness. These are the onerous information of caregiving: We’re pulled. We’re overwhelmed. We’re harm. We grieve.

Debbie Jackson: April, you’ve been a part of the challenge from the start as an interview topic — the play is derived from transcripts of interviews with caregivers, so that you’ve been within the coronary heart and thick of it. You’re additionally a dramaturg working by the dramatic parts, and one of many characters relies in your expertise. Why don’t you begin us out along with your tackle the challenge?

April Sizemore-Barber: Effectively, to placed on my dramaturgical hat, one of many fascinating elements of this play is that this can be very dedicated to the actual tales, the narratives of the individuals who have been interviewed. It’s very a lot within the verbatim theater custom, Anna Deavere Smith being most likely the best-known. There are appearing selections being made, however the true dedication is to the character, the lived experiences, the voice, and recapturing and performing that. It’s nearly just like the viewers is the interviewer, so there’s an actual intimacy and liveness there.

In working with the transcript, these are actual individuals’s tales that we’re portraying, so the characters, the individuals, have been within the room, albeit with pseudonyms. That’s been the middle of the play, and the truth that that is so particularly DC and particularly a specific a part of the theater neighborhood makes it so private, so actual. However then, in rehearsals, I’ve watched it change into reworked by creativeness and collaboration, and characters in dialog with one another change into one thing that everyone is globally going by — making it common. The conversations change into a form of refrain, each Greek and/or musical, with voices interlacing with one another. The textual content was developed in isolation, however now, these characters work together with one another. It’s not a static docudrama — it strikes, with dream areas and imagined areas opening up a dramatic theatrical world for these concepts, for these narratives which are particular but additionally so extremely human. The tales resonate inside the viewers, and that turns into a broader circle.

This has been such an evolving course of with actors offering suggestions in regards to the textual content. That’s very completely different from the normal approach with actors receiving the script and saying their traces. How has that open flexibility labored for the actors?

Lise Bruneau: I’ll soar in right here. Coming into the method was fascinating. It was actually rewarding. To me, in a approach, it’s like cooking — there’s not one approach to make cookies; it’s our selection. So my favourite factor to say about theater and about artwork basically is you are able to do no matter you need. To me, making good artwork requires being considerate, being clever, and being cautious.

The fortitude that everybody has proven, together with the variety of voices which have contributed and are part of this, is outstanding. Creating this piece is basically spectacular since you can not assist however have a bit possession. I’ve defended selections I’ve made; we now have possession.

One other factor I’m fond of claiming is, I don’t care about critics and opinions. That’s not what drives me. As a substitute, what I’m going for is the place somebody can sensitively specific, “I have a reaction to the work that I heard, and I want to give you an honest response to what I saw, what I felt, what I heard, what I experienced, so that you know — you did that to me.”

Who Cares Joelle Denise Laura Shipler Chico Kelly Renee Armstrong Lise Bruneau Kendall Arin Claxton photo by Peggy Ryan 80Joelle Denise, Laura Shipler Chico, Kelly Renee Armstrong, Lise Bruneau, and Kendall Arin Claxton (from again) in ‘Who Cares: The Caregiver Interview Project.’ Photograph by Peggy Ryan.

You’ve finished some severe work with the supply materials as a foundation for the characters. Typically, they’re renamed for privateness. However it obtained to the purpose the place that stopped working for one of many characters?

Lise Bruneau: Yeah, it felt like we have been enjoying a bit little bit of cat and mouse saying that one of many characters is a famend director, that she created a pathway for Black artists in DC, and so forth. It began to really feel sophisticated as a result of I simply wished to listen to her title — Jennifer Nelson. Proper?!

I agree; she’s such a historic power within the theater neighborhood. It’s great to have her named. Ari, I do know it concerned further steps and clearance for you and Lorraine [Robinson] to work by all of the confidentiality releases to make that occur, however I’m so glad it did. It’s such a tribute to such an unimaginable artist.

Ari Roth: Sure, our launch types particularly requested all the collaborating topics whether or not they wished to take part pseudonymously or not and whether or not the individuals they have been caring for or referring to ought to be talked about as pseudonyms or not. We confirmed with and obtained permission from her daughter to convey Jennifer Nelson into the dialog. We’re actually glad for that.

In the meantime, Laura, you’ve been a part of the challenge from the very first workshop and have taken on a number of roles. What has your journey and expertise been like with all this, particularly contemplating that is your U.S. stage debut as nicely?

Laura Shipler Chico: I do not forget that very first workshop the place we got the uncooked materials, and we have been every randomly assigned a few interviews, and we went by utilizing color-coded highlighters to pick issues that touched us and that stood out. The outcome was nearly like a Quaker-style assembly or worship presentation, the place we got here in with little snippets or some quick tales in response to others, which laid the groundwork for the transition from an interview to a dialog.

We painting characters as a part of a help group and referring to different individuals. So whereas staying true to the depth and essence of the phrases, you additionally must lean into an emotional panorama that we all know as being human, touched by elements of our personal actual lives; it’s all there. However as actors, we now have to place ourselves in an emotional area to open up and lean into it with — OK, I’m feeling this, I’m coping, however we now have to really feel it and mine it, and in order that’s been a extremely attention-grabbing journey, taking these interviews into new imagined conversations. The opposite theatrical aspect is, whereas we’re utilizing the precise phrases, characters must shift and alter over the course of a narrative for it to be theatrically attention-grabbing.

One character I play is Jana, who was identified with Lewy Physique illness on the age of 52. Final night time, I used to be in tears after rehearsal — it was unimaginably devastating what that loss represents. To place myself into the sneakers or into the center and thoughts area of somebody who’s dropping these issues is basically highly effective for me and connects me to my different characters in a special form of approach, in attempting to painting her from the within out.  

Lise Bruneau: I actually wish to piggyback on one thing that Laura stated about enjoying Jana. In case you have been portraying your character from the surface in, you’ll be like — she’s dropping her reminiscence, she should be unhappy. And that is what I get from excessive schoolers on a regular basis. “So you want me to be sad?” It’s like, no, I don’t need you to be unhappy. I wish to get throughout what Laura has finished.

The “instrument” of Laura permits her to react organically and naturally to the scenario. So we don’t see Jana being unhappy as a result of she doesn’t keep in mind issues anymore. We see her combat it; we see her deny it. We see her resist it. We see her get scared about it, and it’s like this entire unimaginable palette of responses which are extremely natural, stunning to observe, and that basically fill that story out. It’s a privilege to observe you, Laura.

Who Cares 800x1000 1TOP: Lise Bruneau and Laura Shipler Chico; ABOVE: Laura Shipler Chico and Lise Bruneau, in ‘Who Cares: The Caregiver Interview Project.’ Photographs by Peggy Ryan.

And eventually, Lorraine, what’s it prefer to have been an interviewer after which to search out your self because the protagonist or “journeyer” on this play? The character portraying your expertise interacts with this different determine named Bee, primarily based in your sister, who you misplaced at an extremely younger age. That’s one other character come to life with their very own theatrical actuality to it.

Lorraine Robinson: Effectively, I truthfully don’t understand how I turned the protagonist on this play [laughing]. Undecided how that occurred. I used to be not anticipating that in any respect, despite the fact that I used to be, sure, an instrumental instigator of this challenge and course of.

Typically, I discover myself watching the rehearsal course of for the play and script, and all of it appears regular. After which there are occasions when issues within the script soar out and hit me, and it’s really very disorienting, these characters both saying my phrases or one thing that occurred in my life.

One other factor I’ll be aware is a number of the musical selections that I’ve put into the script; these are all very private issues to my sister that she repeatedly listened to on her iPod and through her two-year journey with dementia. The music has resonance. Her music listening was on frequent rotation; sure songs comforted her, so we’d let her go together with the music. There’s a form of soundtrack to this expertise, and a few of it’s within the play, and that’s very resonant to me.

April Sizemore-Barber: This piece is a resurrecting of those individuals by storytelling — we’re bringing them into the room by the music, by our tales of them. And so, in some methods, this honors the individuals who we’ve labored with. It honors the caregivers, clearly, but additionally the people who find themselves now not with us. It’s a therapeutic area. It’s an area that’s out and in of time, and in some methods it may be a mourning area in addition to a gratitude area.

Ari Roth: I feel what’s actually thrilling in a “page to stage” approach is the embodiment of all of those individuals who at one level have been simply names in a transcript. After which impulsively, it’s not a six-actor play; it’s a 40-character play. The aged are current, the kids are current. The ghost figures, the people who find themselves now not dwelling, are current with us, and they’re essentially the most poignant figures of all.

Lise Bruneau: We’re honoring the people who find themselves sharing their tales, and what I discover to be extremely stunning, too, is the respect that’s even sacred. Listening, the reception, , I’m going to obtain your story, I’m going to listen to what you’re going by, what your life is, and all people is doing that for one another. It’s fairly stunning.

You’ve taken a lot time crafting this brand-new play, a world premiere. Why is it essential to have this present up now? What would you like the viewers to come back away with?

Lise Bruneau: Effectively, an actress I’m actually keen on, Charlotte Rampling, does loads of uncommon, scary, barely uncomfortable portrayals. She says she loves discovering scripts that push the boundaries and put individuals in extraordinary conditions or reveal sides of individuals that aren’t essentially revealed to the mainstream as a result of she says it helps individuals really feel much less lonely, on this case, once they see somebody experiencing one thing they’ve skilled: eldercare.

Laura Shipler Chico: There’s a quote — I’m unsure who first stated it: We have to know that we’re not alone. I feel we go to artwork to know that we’re not alone. I take into consideration my sister-in-law, who has been this warrior for her mother and father. She’s going to take a couple of valuable hours out of her intense schedule to come back and see this play.

I would like her to acknowledge herself in what we’re doing. There’s additionally why I’ve been drawn to work as an actor. I name it “radical empathy.” I feel a part of our work as artists is to ask individuals to think about themselves in different individuals’s experiences.

Lorraine Robinson: I turned impressed by my sister as she went by the journey of going through this illness, and I discovered inspiration in how we have been in a position to navigate the journey by this collectively. I found I wasn’t as remoted and alone as I assumed I used to be.

This piece opens individuals’s hearts, minds, and souls to an unimaginable wealth of private and emotional experiences. Will there be talk-back alternatives to assist course of the fabric?

Lorraine Robinson: Sure, we acknowledge that the viewers’s emotional journey for this type of dramatic piece doesn’t cease when the curtain goes down or the lights come on. We’re engaged on a schedule of discussions that might be accessible after every present so the viewers will have the ability to share their expertise, have an opportunity to speak, and mirror on this piece — they’re a part of this journey and course of, actually the ultimate a part of it.

Any concluding ideas, Ari?

Ari Roth: Simply that one of many many issues that I’m most pleased with is utilizing all native expertise from the DMV, the primary time for this firm that has a global attain. From writing and making ready the script to the stellar performers, everybody relies right here, including to the closeness and belief in sharing the delicate points and experiences, in addition to bringing consideration to the disaster of care in the area people.

I do know that Voices Pageant Productions appreciates the highlight on caregiving in current theater productions all through the metro space, and all of us sit up for persevering with that power and momentum with this work. Because of all of you for taking the time and power to share your ideas and the method. I hope everybody concerned within the challenge realizes how a lot you’re all making a distinction in lives and artwork.

Who Cares cast‘Who Cares’ solid. Photographs courtesy of Voices Pageant Productions.

Who Cares: The Caregiver Interview Venture performs by February 2, 2025, offered by Voices Pageant Productions, acting at Universalist Nationwide Memorial Church, 1810 sixteenth St, NW, Washington, DC. Tickets ($45, with reductions accessible for teams, patrons underneath 30, affinity teams, and artists) can be found on-line.

Operating Time: Two hours and 20 minutes, together with a 15-minute intermission.

Who Cares: The Caregiver Interview ProjectCo-written by Ari Roth, A. Lorraine Robinson, and Vanessa GilbertWith authentic stand-up materials from Jim Meyer and excerpts from the work of M.T. Connolly and her e book, The Measure of Our Age: Navigating Care, Security, Cash, and That means Later in LifeDirected by Kathryn Chase Bryer

CASTKelly Renee Armstrong*: Rachel, Rev. Leslie, Tyra, Bee, TantyLise Bruneau*: Theresa, June, Nurse, HospiceLaura Shipler Chico: Sarah, IONA Program Director, Jim’s momKendall Arin Claxton*: Kris, Kathleen, Cecilia, SelamTodd Scofield*: Jim, P&P OwnerJoelle Denise*: LorriUnderstudies: Rachel Manteuffel, Llogan Paige, Robert Bowen SmithCasting: Daryl Eisenberg, CSA, Eisenberg Casting*Denotes member of Actors Fairness Affiliation

CREATIVE TEAMDavid Elias* (Stage Supervisor); Nora Butler (Assistant Stage Supervisor); David Smith (Lighting Designer); David Lamont Wilson (Sound Designer); Brandee Mathies (Costume Designer); Heidi Fort-Smith (Scenic Designer); Tyra Bell (Props Designer); Robert Bowen Smith (Motion Director)

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