You starred in our production of SHIRLEY VALENTINE and took on a huge responsibility in that solo show. What’s it like taking on a role that massive again?

Well, let me first say that I am honored to have the opportunity to bring Vivienne to life. Also, not having to cook an entire supper on stage (as Shirley did) is a big change for this go-round!

But this is not a one-woman play. It is a beautifully unique, layered ensemble piece where one person does a lot of the talking.

How do you prep for a role like this one?

I prepped for this role pretty much like I do for every role…it just took longer. First, I read through the script several times and discovered as much about Vivienne, her family, and her relationships as I could just from the text.

I did some research and talked to medical professionals, care givers, and family members dealing with Alzheimer’s.

Then, of course, I spent a couple of months before rehearsals began pounding the lines into my aging brain. This is important because the real work of rehearsal—the discovery of the character, the relationships, and the story--can’t happen with a script in hand.

And the rehearsal process was amazing. This play has become something entirely different—larger, more engaging, and more delightful—than I ever expected. And that’s thanks to Jordan’s vision and Sarah and Nick’s joyful creativity.

What is Vivienne all about? How would you describe her as a person? Any particular insights as you begin this process?

Vivienne is “all that.” She’s bright and articulate, efficient and effective, and used to being in control of her life.She’s loving, creative and a problem-solver. The conflict revealed by the play is her sudden inability to predict, to solve, to control this significant obstacle in her life.

But that’s not all.She also loves her mother, and she’s losing her. And, despite the anguish and anxiety and anger that come in turns, she’s trying desperately to keep on smiling.

What do you like most about this play?

I love Vivienne’s sense of humor that is revealed through her story telling, her loving commitment to family—I just really like her as a person. I also love the idea of using creative myth-making as a coping or healing process.

How would you to describe this play to our audience?

The script is lovely, articulate and creative. But the script is not all. There are layers of story “telling” that are multi-dimensional, that will engage you in unexpected ways…and will leave you smiling through (just a few) tears.

What would you like them to leave thinking/ talking about?

I’m guessing that we’ll have many audience members for whom Vivienne’s story is familiar—who may be currently coping with some of these same challenges.I’d like them to leave feeling heard and understood, and determined to be kind to themselves.

I’d also like them to pat themselves on the back for supporting Vermont Stage’s commitment to new playwrights!

How would you describe your character? Any particular insights as you begin this process?

Gray Mole is blind. And he loves to burrow. He has an incredible ability to sense the world around him and a lyrical way of describing it. He can be extremely shy at first, but eventually warms to his surroundings.

How do you prep for a role like this one or roles you have played in general?

I always start with research. And I must say, this role has been especially fun to unearth. I have read a great deal about this tiny, velvety insectivorous mammal. Thanks to Fletcher Free Library, Google, and YouTube, I am well-versed in this fascinating fur ball. Videos have proven to be particularly effective when exploring the shape, gesture, movement, and rhythm of this character. I am aware that I will not fully uncover Gray Mole in books and Google searches, however, I find that research gives me a rich foundation of specificity from which to build the character. The more vivid the palate, the more vivid portrait.

What do you like most about this play? Like least?

Blackberry Winter is not a true story, but one that is truthful. It is fearless in its language and singular in its telling. I admire plays that don't look or feel like anything I've ever seen before.  

I confess that I did not like the way this play ended when I read it. It felt incomplete. I wanted more. But, as any thespian knows, a play is not meant to be read, but to be performed. I finally saw the last scene performed by the brilliant Karen Lefkoe at the end our first week, and it took my breath away. Now, I get it.

How would you to describe this play to our audience? Thematic elements? Style, etc.?

It's a one-woman-show plus. The White Egret and Gray Mole are merely players in Vivienne's world. In terms of its tone, this play is unabashed. It's poetic. It's real. It's witty. It's wise. It is heartbreaking and uplifting and everything in between.

What would you like them to leave thinking/ talking about?

As Vivienne is processing a harsh realization toward the end of the play, she speaks a line of text that I quickly underlined, highlighted, and repeated out loud when I came upon it for the first time: "Let me never wish away a moment of this life." I have not yet zeroed in on precisely what playwright, Steve Yockey, is saying with this play, but that line will be my takeaway.

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.