What was the impetus to write BLACKBERRY WINTER?
 
The play was commissioned. Out of Hand Theater in Atlanta, GA approached me about developing a new work addressing Alzheimer's disease. Honestly, I instantly felt intimidated by the subject matter.  Also there are so many wonderful plays that already explore the topic.  But they told me I could attack it from any angle and examining the role of the caregiver immediately appealed to me. Carolyn Cook, a wonderful local actress who was on this journey with her own mother, also wanted to participate. So I jumped in. 
 
Has the play dramatically changed since the first draft?
 
The script has been slowly, gently refined across the first several productions. That's the benefit of a National New Play Network rolling world premiere. I knew from jump last season that I had seven productions locked in, so I could afford to try things along the way. But ultimately Blackberry Winter has maintained it's basic structure and tone. The first workshop we did though, before the script was out in the world? That ran well over two hours because I tried to include everything and the kitchen sink. It was just too much. But when the play focused in on this one woman and her very specific experiences, it really came to life.
 
What’s your writing process like? 
 
I'm not a particularly disciplined writer. But when I do write it tends to be in large, manic swaths. And I usually need music of some kind. The type varies depending on the project, but there's always music. It actively works against the clutter in my head.
 
How do you think BLACKBERRY WINTER has resonated with audiences so far? Any interesting feedback or an anecdote you’d be willing to share?
 
Two things. Audiences come in expecting something bleak and then really connect with and respond to the shared experiences, humor, and resilience of hope in the face of something so hopeless. And audiences want to talk afterwards. They are desperate to talk, to share their own stories. So many people are navigating caregiving for a loved one (or have) and they can often feel alone.  Suddenly, they realize they're not the only ones who have these thoughts, these fears. It's remarkable.

Do you garden?
 
I got seriously into flower gardening after working in a garden center for four years. Like Tania, I’m a ‘native gardener’, and along with roses, peonies, lilies, and lilacs, I do plant weeds: Milkweed, Joe Pye weed, gooseneck, mullein, mallows, and many more perennials; plus herbs: mint, thyme, oregano, bergamot, bee and lemon balm. As long as it’s fragrant/thrives on its own, it can stay in my yard.
 
What would you do if you found out your neighbor had been using two feet of your property?
 
If I discovered that a neighbor had ‘acquired' some part of my land, I’d certainly be quick to correct that. Boundaries are necessary and legal ownership is important. And yes, I would fight for it if need be, though not physically. I’d call or visit or send a letter first, and I’d get legal backup if it continued.
 
What do you like most about acting in comedies?
 
Working in comedy is a tough job, but it’s so rewarding when you hear the audience laugh. I grew up loving Burns and Allen, I Love Lucy, and the Carol Burnett Show, and it gave me such a happy heart! That’s a great feeling and I hope I can spread a little of that joy to every audience member.
 
What do you like most about this play?
 
Each character in this play is a good, decent, civilized person. Yet despite that, each is subtly ingrained with ‘isms’: ageism, classism, racism, sexism, that they have to confront and overcome. That’s what I like most about this play.