By the point Doug Robinson finishes telling a narrative, he’ll possible make his listener smile from ear to ear. At the least, that’s what occurred to me after I not too long ago interviewed the playwright over Zoom.
The multi-hyphenate theater creator is from Virginia and has had his performs staged in quite a lot of DC-area theaters, together with Faction of Fools and Creativeness Stage. His writing, which options each delirious whimsy and emotional intelligence, earned him a MacDowell Fellowship. He additionally not too long ago earned an MFA in Playwriting from the Geffen Faculty of Drama at Yale.
Playwright Doug Robinson. Picture by Mia Aguirre.
Lots of Robinson’s performs have interaction with a mythological or folktale construction whereas nonetheless subverting viewers expectations. I requested Robinson how he first developed his love of folktale, and he defined that he was launched to them as a toddler. He was enthralled with a watercolor image e-book retelling the Japanese legend of Urashima Tarō. Within the story, the fisherman Urashima Tarō saves a turtle who’s revealed to be the daughter of the emperor of the ocean. Tarō is taken to an underwater palace however is allowed to go residence with the situation that he by no means open a mysterious field. When Tarō returns, he finds that an immense period of time has handed. He opens the field and ages quickly.
It’s one factor to learn the Japanese legend. Nevertheless it’s a wholly completely different expertise to listen to Robinson inform it, along with his animated, vivid voice. He’s unafraid to retell an historical story in his personal voice. When recounting the start of the story, he instructed me, “And the turtle’s like, ‘Bet, come back tomorrow. I’m going to have a little surprise for you.’” Robinson’s model was instructed rapidly, with boisterous vitality — however when dramatic story beats arrived, he was in a position to decelerate and convey a way of surprise. Afterwards, regardless that I’d gone by means of a story whirlwind, I nonetheless smiled. I used to be pleased to have gone on such a shocking journey.
Audiences can really feel Robinson’s giddy however methodical storytelling in his play The Figs, operating at DC’s Rorschach Theatre by means of March 16. The play is a wierd, up to date folktale. It begins with a Storyteller sharing a fable (additionally embodied onstage) a few king who’s obsessive about figs — till an absence of them drives him mad. Robinson’s play then spirals out in a number of instructions. There’s a aggressive household of three siblings (Jin, Jod, and June), all decided to share their figs with the King. There’s the King’s daughter Sadie, who runs away to her secret love, the innkeeper Lorna. There’s additionally loads of smaller storytelling moments, from songs and mythology to anecdotes and asides.
Audiences watching The Figs will decide up on Robinson’s admiration for (and interrogation of) the act of storytelling. The playwright instructed me his love of folktales stemmed again to that watercolor image e-book and the way it blended the mundane with the spectacular.
“There was magic, but also everyday people,” Robinson mentioned. “This was just some fisherman who then found this magical moment. I think so much of what I hope to see in theater is the magic in the ordinary. Where does that exist? How can we punch that up?”
Robinson mentioned that whereas placing collectively The Figs, he deliberately wrote a large-scale story. He referenced the story of Jack and the Beanstalk, which begins out because the story of 1 boy however twists into surprising instructions, with the Large and Jack’s mom changing into primary characters in numerous components of the story. Robinson sought to honor this narrative strategy.
“A good folktale or fairytale, if we move away from the Disneyfied version of it all, often has many winding threads of a different color that coalesce in this thing of many events,” he mentioned. “But it’s really more like this tapestry of people who keep intersecting, and then it ends.”
Mollie Greenberg (the Storyteller) and Robert Pike (the King) in ‘The Figs.’ Picture by Ryan Maxwell Images.
Robinson’s tapestry of individuals options many characters who pop up for a number of scenes, make an enormous impression, after which rapidly exit the play. These embody a “Messenger” who introduces dire information like a buyer care agent. A “Nurse” arrives in a pivotal scene with deep perception into the sacrifices made for love. Most memorable might be a little bit white fish, who in simply two scenes develops an adversarial but additionally affectionate relationship with June.
Robinson mentioned that each time he presents The Figs, whether or not in a studying or a manufacturing, viewers members will all the time share that their favourite character within the present is the fish. Though The Figs is filled with witty humor, it all the time comes from characters who’re making an attempt very onerous to attain their targets — a personality trait Robinson very a lot appreciates.
“I think the good thing with comedy is it doesn’t need to punch down,” he mentioned. “It can also be a reminder of our own connected foolishness.”
For Robinson, writing many minor characters just like the Messenger, the Nurse, and the Fish permits him to inform his viewers that a lot is feasible in his performs.
“I think why it works, to have all these characters, is I try to build a world first and foremost,” he mentioned. “Once the audience has accepted the rules of that world, which are that people of all sorts can appear and engage, they’re actually excited and hungry for the next discovery.”
Even with a starvation for discovery, there’s a danger for any storyteller telling a winding story: they’ll take a look at the persistence of an viewers. The Rorschach manufacturing of The Figs lasts two-and-a-half hours plus an intermission. Robinson acknowledges the danger of shedding an viewers — he doesn’t need the viewers to go, “Oh God, another fucking thing?” when a brand new character arrives late within the story. However he additionally shares that the unique draft of The Figs was “40 pages longer.” He did vital modifying to stability all of the storylines and characters whereas not compromising a folktale construction. The query he requested himself throughout edits was, “What fills the world but does not oversaturate the world?”
“The world is so big, yet we can only get a little snapshot of it,” he mentioned. “It is a good story’s job to remind audiences of how vast the world is and the many possibilities that exist. To not show a singular path, not show one right way of being, but to remind us there is no single thing and there can never be a single thing.”
Due to The Figs’ huge world, many audiences would possibly draw parallels to actual life. Though many of the play takes place in an anachronistic fantasy land, I discover many resonances between characters making an attempt to outlive a tumultuous political period and my colleagues and I doing the identical in 2025. This DC manufacturing a few power-hungry king is being staged on the similar time that the President of america is sharing royalty-inspired paintings on social media that reads “LONG LIVE THE KING!” There are juicy, uncomfortable comparisons to be made, even when The Figs doesn’t perform as a one-to-one allegory of the current day.
I requested Robinson how he believes “evil” capabilities all through folktale storytelling, and thus inside The Figs. Robinson mentioned that though he doesn’t excuse violence that characters commit, he’s additionally not occupied with fully antagonizing his characters. Largely, he doesn’t discover the thought of “evil” to be compelling for writers or audiences.
“I don’t think that evil makes good dramatic action, whether it’s in a folktale story or a contemporary lens,” Robinson acknowledged. “I think people with unchecked power is an interesting bit of dramatic action. I think people who choose to be kind in the face of cruelty is interesting in dramatic action.”
Charlotte Kim in ‘The Figs.’ Picture by Ryan Maxwell Images.
LGBTQ audiences and audiences of coloration would possibly discover private resonance with The Figs as effectively. As a member of each communities, I’m fascinated by metatheatrical moments in Robinson’s script, when characters acknowledge the societal roles they’re requested to carry out. Sadie tells the King early on, “Don’t play the caring father. The costume is ill-fitting.” After a tragedy, June remembers being sidelined when taking part in together with her siblings: “I had to take the part they gave me or I couldn’t play. I didn’t play very much.”
Though Robinson isn’t explicitly writing about up to date systemic oppression, his phrases really feel true to folks experiencing them. I’m reminded, weirdly, of what critic Wesley Morris wrote in regards to the horror movie Get Out: “[Filmmaker Jordan Peele] made a nightmare about white evil that doubles as a fairy tale about black unity, black love, black rescue.” Now, The Figs is far more playful than a horror movie. However I see the present as working on an analogous degree as Get Out. Each artworks confront painful injustices, however The Figs’ use of style tropes creates an accessible entry level for marginalized audiences, who collectively can root for our collective rescue.
The Figs articulates that mission towards the tip of the present. June, who emerges as a central determine, enters a liminal house that the Storyteller calls “the margins.” “Everything that could be and even the things that couldn’t be exist in the margins,” the Storyteller remarks.
Robinson instructed me this scene was one of many final he wrote for the play. He was collaborating with director Helen R. Murray on the present’s 2024 world premiere manufacturing at American Stage, they usually each needed to specific how expansive the world may very well be for the characters.
“This is not a story about June who reunited with [their] ‘nuclear family,’” Robinson instructed me. “This is not that story. In fact, this is a story about someone who finds a family on the road, who realizes that they’ve had companionship of a different kind their whole life, and a love that is going to transcend that kind of Americana look.”
The Rorschach model of The Figs, solely the present’s second skilled manufacturing, provides a singular journey for the viewers. Director Randy Baker has created an immersive expertise the place viewers members bodily journey by means of Rorschach’s efficiency house, beforehand a two-story clothes retailer. Though audiences finally settle into seats, the staging mimics the twisty narrative of the play itself.
With this manufacturing, Roboinson mentioned he’s discovering a stability between being obtainable to the inventive workforce for suggestions whereas additionally giving Baker and producer Jenny McConnell Frederick sufficient distance to reimagine the present on their very own. Robinson mentioned he’s pleased to take part in theater any means he can.
Rebecca Husk and Arika Thames in ‘The Figs.’ Picture by Ryan Maxwell Images.
“If someone said to me I couldn’t be a playwright — cool, whatever, fine,” he acknowledged. “But if someone told me I couldn’t make theater, I’d be devastated. Being in every aspect, engaging whether it’s tech or auditions, I’m overwhelmed just to be there every time. So I’ll be a part of any production as long as people will have me.”
This manufacturing comes at an fascinating time in Robinson’s profession as effectively. Wanting again on his time at Yale, he’s mentioned he’s grateful that this system allowed him to develop his personal distinctive writing course of, even when he realized essentially the most from his fellow playwriting friends. Robinson additionally admits that being a Yale graduate opens sure doorways for him — however he’s “forever grateful” to the theater corporations like Rorschach, which learn his play submissions earlier in his profession.
Robinson is now engaged on a brand new play, Cactus Queen. It’s a narrative by which a mom makes an attempt to resurrect her lifeless son, who’s performed onstage by a puppet. Though it would seem to be a darker departure from each The Figs and a few of his work for younger audiences, Robinson believes all his work is tied collectively by means of creativeness.
“I want [audiences] to say that my plays made them see the scale that theater can be,” he mentioned. “That doesn’t mean scale like budget and all the big sets. But look at that little puppet. Look at that little puppet catching a butterfly. Look at that grieving mother hold that puppet like it’s her own child. I believe that that is her child. Oh my God, I’m believing in something. I’m not suspending my disbelief, I’m choosing to actively believe.”
Perception — within the arts, in establishments, within the nation — is being examined proper now for artists and audiences within the DC space, as the federal government asserts an more and more giant position in arts organizations regionally and nationally. The Figs didn’t instantly strike me as a present about resistance or revolution. Nevertheless, the longer I’ve thought of it, the longer I’ve appreciated how the play’s characters don’t search out pleasure or a contented ending. They as an alternative search out stronger integrity.
“If there’s one value I hold most dear in this moment of my creative process, it is a deep love for earnest characters, earnest storytelling,” Robinson instructed me. “Cynicism and irony have their place. I love the absurdist. I love my fucking angry, burn-it-down play, I do! I just don’t have it in my spirit to write that right now. What is in my spirit is to write people who — in the midst of storms, and ungodly things, and unholy things, and cruel things — choose to believe in something, choose to really put themselves in the action that they are doing. Not with a wry smile, not with a sardonic attitude.”
I puzzled how, within the midst of a lot unrest, Robinson was in a position to foster such an imaginative strategy to theater. Over the previous few weeks, I’ve felt jaded and emotionally exhausted, contemplating leaving the humanities business altogether. I love, and maybe envy, Robinson’s capability to really feel so linked to the youthful model of himself who requested his mom to learn a watercolor image e-book again and again. In our dialog, Robinson emphasised that he isn’t staging the surprise of childhood. Everybody else may be performing a type of stolid maturity.
“I think adulthood is kind of a costume more than it is a thing that actually happens,” Robinson mentioned. “I pay taxes. I have responsibilities. Let’s not pretend that life doesn’t get more complicated. But this idea that imagination — or silliness or playfulness or earnestness and believing in something — is a naive concept seems antithetical to what is needed for the world to move forward. Actually, it is through imagination that we can dream and think beyond our current circumstances.”
“I take many things in this world seriously,” Robinson continued. “I am a student of history and philosophy, and I am not someone who believes that everything is happy-go-lucky. But I also think that imagination is the only way forward.”
‘The Figs’ present artwork courtesy of Rorschach Theatre.
The Figs performs by means of March 16, 2025, offered by Rorschach Theatre acting at 1020 Connecticut Avenue, Washington, DC. Buy tickets ($50 grownup, $35 pupil and seniors) on-line.
Working Time: Two and a half hours with a 15-minute intermission.
The playbill for The Figs will be downloaded right here.
SEE ALSO:
Rorschach Theatre’s ‘The Figs’ tells a weird fable about an obsessed king (overview by Haley Huchler, February 19, 2025)
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