How would you describe your character? 
'Alemu' is a very complicated character. He is carrying with him quite a lot of baggage from his youth growing up in Africa (the continent, not the country!). He however, needs to exorcise these demons while also navigating the social norms that we take for granted here in America.

Are there any connections that you see between you and your character?
Yes. I see a lot of connections between myself and my character. I too grew up in Africa, Zimbabwe to be precise, but the struggles of an immigrant knows no borders. From navigating being in a foreign country (where people drive on the wrong side of the road or the toilet water spins in the opposite direction), to language and cultural barriers, to simple social norms like knowing what might be everyday practice between immigrants, might be completely unheard of by someone who has never left the country - the list is endless. I am also deeply touched by the AIDS pandemic that has swept across the continent and agree and empathize with my character about the stigma that many here in the U.S. incorrectly assume the spread of HIV/AIDS in Africa is primarily because of promiscuity. I also feel for the character, because so many times I have found opportunities to make positive contributions to "the people in my heart" (back home), but so often, my help has been through a proxy.

What do you like most about this play? Do you have a favorite line?
I like the fact that the play unashamedly addresses some really big societal topics, like AIDS, adoption, homosexuality, friendship, multi-cultural issues and issues of race (or maybe I should say, issues of heritage/culture - because there is only ONE race ... the human race). Also, I like the way Annie grapples with the decision to adopt - it's realistic, because we all struggle with big decisions and question whether we are really doing the right thing and look to the affirmation of friends and the advice of strangers to help us along the way.

My favorite line is "Yes. Yes. You must pick up the poop" ... in the context of the scene, it's just funny and awkward and fits perfectly with the odd character that I play.

How would you describe the play to our audience?
The play is about a White American couple that plans to adopt a child and when their initial plan fails, they decide to adopt a child from Africa. They have a a lot of hangups about whether they are doing the right thing, if they will be good parents, and how they will function as a "cross-cultural" family and it takes the intervention of their peculiar neighbor to convince them (in his own special way) that they are doing the right thing.

What would you like them to leave thinking or talking about?
There is so much to take away from this play. Despite the serious nature of the subject matter, it is also a comedy. So while I hope people walk away with the following thoughts, I also hope that they can get some good belly laughs in there as well.

• The challenges of conception and adoption
• Social consciousness   
• The role of Cultural Identity 
  • African American culture
  • African culture
  • White culture
  • American culture
    

I’d like to begin by asking you to talk about your choice of title. It sounds as if you intended to have the word “call” operate on more than one level.
 
Every adoptive parent waits anxiously for the call letting them know that they have been matched with a child. So, on the most basic level, that is what “the call” refers to. The other call in the play is the “deeper calling” or the “call to courage.”
 
Was there any specific experience that was a catalyst for the play?
 
A friend of mine went through severe postpartum depression. I wondered if the whole thing was entirely hormonal – or was there a psychological component too? And, if so, you don’t have to have given birth to experience it.
 
You’ve said that you didn’t want to write this play and that it is very personal and close to you. When writing a play whose situations overlap your own experiences to some degree, do you worry about the play being perceived as autobiographical?
 
Most of my plays deal with issues or topics that I either (a) think will make a terrible play or (b) am afraid to write because they feel too personal. Usually, both. In all cases, I never end up writing autobiography because fiction is so much more dramatically compelling than my real life – and after living my life once, I don’t feel the need to re-live it in story. But, there is often a seed of personal experience in what I write about. I wrote The Call after adopting two children. People almost always think my plays are MUCH more autobiographical than they are. This used to frustrate me because I couldn’t actually get credit for the storytelling. But, now, I just take it as a compliment.
 
Things have and are changing very rapidly in regards to some of the subjects that your play engages. Do you feel as if it will retain its power and relevance in five or ten years?
 
More than anything, the play is about a couple at a crossroad. When writing, I’m not concerned with the story’s contemporary details. What interests me are relationships and the ways in which we navigate “being with each other” over time.
 
You’ve spoken about how this play is different from your previous plays, in which you have written about “the African-American experience through history” while The Call is a “contemporary play.” Do you think you will write more “contemporary” plays?
 
My most recent play, Bright Half Life, is also contemporary. It’s very different than The Call. It’s a two-hander and structurally non-linear. It’s my most intimate play. I try not to repeat myself too much when writing. I don’t want to write the same story over and over. I try to challenge myself by finding new ways to explore resonant material.
 
You have spoken about the writing of this play breaking a block you were experiencing.
 
I tend to go through periods of writer’s block as I’m figuring out what’s next. Sometimes the block is quite brief and sometimes longer. Certainly, after becoming a parent, I had to reinvent myself as a writer. On a very practical level, I had very little time to write. I wrote The Call between 4am and 6am (before the kids woke up and before I went to my day job). I also found myself drawn to different themes: marriage, parenthood, midlife, etc.
 
A play like this will resonate very personally with many in the audience. Have there been any responses you have received from audience members that have been particularly meaningful to or memorable for you?
 
All responses are meaningful to me. I have been particularly struck by the high school teenage groups that saw the play. The fact that they found it moving and engaging meant a lot to me.
 
Do you ever have an impulse to revise a finished, even published, script after you have seen other productions of it?
 
Barfield: Yes, I always want to revise my plays after they are produced or published. Theatre is a living, breathing thing. It never feels done to me. So, in some ways, I don’t enjoy seeing my work after it opens because I always find things I want to rewrite. I change the script all through previews. With the NYC production, we had a very long preview period and I brought in new pages every day. The actors had to learn new lines in the afternoon and perform them that evening. So, audiences that saw the play during early previews saw a different play than those that saw it after opening.
 
How has parenthood changed you as a writer, as an artist?
 
I think I’m a better writer post-parenthood. The breadth of my life experience has grown, life has more intrinsic value to me, I’m less “me” focused. As a parent, life is joyful and painful in a very different way.
 
You describe one of the play’s concerns (“doubt surrounding motherhood”) as a taboo subject. Could you talk a little about the importance, in theatre in particular, of engaging difficult or taboo material?
 
I tend to think of the best plays as inherently boundary-pushing and confessional in nature. Even comedies. That’s why so many farces are about infidelity or secrets. We go to theatre not to see everyday as it is. We go for two hours or so to see very high moments or very low moments (the most pivotal moments) of a character’s entire life. If we’re not seeing something that’s on the edge of our comfort zone, we’re usually bored. At least, I am. I’m not saying that I like shock-value plays for shock’s sake. I mean that I like stories in which characters are trying to balance on a precipice – any minute they could fall.


Interview reprinted from DC Theatre Scene, 2015.

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.

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

The White Egret, in many ways for me, is representational of Vivienne's hope. She is optimistic about the future because she believes she has control. As long as she has control, and everyone gets along, she can't even imagine harm coming to the world. In so many ways I think the White Egret represents the parts of ourselves that so long to hold onto the innocence of health before it is lost to any disease; that moment when we aren't recognizing just how marvelously we feel because we have not yet begun to feel its decline. She is both the rouser of social society in the forest of our minds, and the still and peaceful caregiver of our memories.

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

I feel as though I have been preparing for this role for years, as I have been an avid watcher of the cousin of the White Egret, the Great Blue Heron. Their poise and patience have always drawn me in and while camping or canoeing during the summer months, I have been known to spend half an hour or more simply watching one bird on the shores of a lake as it goes about its daily practice of hunting, sunning, and acting statue. In this case, I also watched lots of National Geographic videos of white egrets and read up on Audubon's writings on the birds (he apparently found them to be good eating!).

What do you like most about this play?

The opportunity to create another world - a world within the mind of the main character AND within the shared world of our theatrical space. Where are we in this play? I'll leave the audience to answer that. What I like least is the reality that so many of us will recognize our family's story in Vivienne's tale ... I know that after just a week of rehearsals, Karen has already given so much truth to the struggle of losing a loved one to Alzheimer's that it is hard for me not to have images of my own Grandmother floating in my mind's eye as I enter the stage. 

How would you describe this play to our audience?

This one is tricky. It is not exactly a series of monologues, but it's not exactly not that either. I've been telling folks that it's essentially a one-woman show, with the assistance of some animal friends and a little myth-making. The story of a very human struggle with the gradual decline of a parent's health, a parent's presence, a mom losing her mom to a disease that doesn't make sense. In the midst of all this, we discover the ways that our experiences may be mirrored in nature and that taking any part of our world, internal or external, for granted does not bode well for our own wellbeing. 

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

I would like audience members to leave thinking about the ways they prioritize their lives right now. How can we all make the most of each moment - live the prosperous spring the White Egret so desires - each day so that no moment is truly "lost" even if the memories of it are. Oh, and go ask the people in your life who are entering their later years all the questions you've wanted to know about the life of theirs you never got to see. Learn from one another. And find joy.

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.

Do you garden?
 
I don't garden at all. I have a horrible green thumb actually.
 
What would you do if you found out your neighbor had been using two feet of your property?
 
Ha ha. I probably wouldn't do anything. But then again I've never been a homeowner so I don't know what that means. 

What do you like most about acting in comedies?

The stakes are incredibly high in comedies. And I especially love working on farcical or physical comedies. It's what i think is most funny. 
 
Are there specific challenges to acting in a comedy versus a drama?

I think comedy is harder than drama actually. You have to be very specific and technical with comedy sometimes and like I said the stakes are really really high. 

What do you like most about this play? Why should the audience come see it?

I like that the play doesn't take it self too seriously. There are a lot of important and very relevant issues discussed in the play but the playwright just presents them to  you and doesn't sit in them too long. The play moves right along and we can all laugh about it at the end. Audiences should come see it because it deals with a lot of issues our country is facing right now. I think this is a play that everyone can relate to on some level. 

What would you do if you found out your neighbor had been using two feet of your property?

First I would ask myself if I wanted the land. When I was a child, the house I grew up in had a wonderful back yard. There was an alley way about 5-6 feet wide that separated the adjoining property. The city offered it to both property owners, asking for a bid. My father said they can have it. He didn’t want to pay more property tax. I would probably do the same now. BTW, the other property owner didn’t want it either so there is, to this day, a small square piece of land in between the two fences.

So do you garden?
No, I unfortunately don’t have a green thumb. My mother says I kill plants and I agree with her. My grandfather had an incredible garden though. It was huge! It resembled the garden in The Godfather movie when Marlon Brando’s character is chasing/teasing his grandson and has a heart attack. I, unfortunately never acquired that skill of gardening.

What do you like most about acting in comedies?

The immediacy of it. The audience tells you immediately if it’s funny or not. There is no guessing. They either laugh or they don’t. In a drama, or serious play, one can come away wondering if it landed on the audience or not. Also, sometimes you don’t always know what the audience will laugh at. You think, “Oh, this will get a laugh, for sure” and then…crickets. Then, some mundane moment passes by, nothing really happening, and then the audience roars with laughter! Nightly! And I’m never quite sure what it is they are laughing at, but I sure take it.

Are there specific challenges to acting in a comedy versus a drama?

Yes, to make them laugh! In a drama, I can lie to myself and say,” Well, the audience got it, it was just very intense and so they were quiet”. I basically, bs myself. With comedy, if there were no laughs, then that means I was HORRIBLE! And I thank god no one had any rotten fruit to throw at me.

What do you like most about this play?

Well, what I like most about this play right now, because it changes at times, is that all four characters have a strong point of view, have an intense passion for something, and are at complete odds with each other. They are, essentially, RIGHT, in their argument, yet completely in the wrong in reference to the others. But, I feel maybe why an audience should come see the play is because it touches on so many HOT TOPICS that are in the news today. And most definitely with the political climate as well. Also, there is no figurative hammer smashing down on some opinion for or against which, to me, seems like such a breath of fresh air. It’s a comedy! Whew!

Do you garden?

I aspire to gardening, but never seem to follow through. It really is a wonderful thing to do. As Frank says in the play, “it grounds me.” But you really need to be committed to it. The last two years we put in a vegetable garden. I even built a raised bed. We ended up with some decent tomatoes, a few cucumbers and maybe 2 yellow squash. Not a bumper crop, by any means. The mint thrived, however. Literally took over the whole garden. I think it’s still out there, growing, pushing up through the frost and the snow. The mint shall inherit the earth.

What would you do if you found out your neighbor had been using two feet of your property?

I would certainly take the land back. In the house we are in now the yard is the best part. And land is valuable. If I were in Tania and Pablo’s position, I would certainly try to take it back. I would try to be assertive, but do it in the right way so that animosity isn’t created. No one likes to be “at war” with their neighbors. Most of us have stories about interaction with our neighbors.It’s such a strange, forced relationship.

However, in our play, conflict is created due to the element of time. Tania and Pablo need the fence to go in right away, and want it to be in the proper place. Frank and Virginia want the new fence to stay in its original place, so that Frank can be judged in the garden competition. Everyone in the play mishandles things, tempers flare and chaos ensues.The thing is, everyone is right about what they want. So the playwright creates an unwinnable situation, forcing the characters to expose their flaws. This is her recipe for comedy.

What do you like most about directing comedies?

I love directing comedies because laughter is maybe the greatest thing a human can do. Being able to create theatre that makes a collective group laugh is a powerful feeling. I love being in the rehearsal room, trying things, failing. Then trying again and having the whole room laugh. It’s like a playground for adults.

But it is also extremely challenging. As a wise one once said, “Dying is easy, comedy is hard.” As a director of comedies you have to have instinct, inspiration, constant trial and error, but in the end live theatre is an unpredictable thing. What might get uproarious laughter one night might fall flat on another night. The idea is to try to make sure each comedic moment will work every time. Comedy is such a subjective thing. The hope is you are making it funny for everyone.

Are there specific challenges to directing a comedy versus a drama?

You need to prepare actors when you are directing comedies the same way you direct a drama. We need to have complete characters, strong intentions and actions. The story needs to be fully communicated and the play needs to be staged in an interesting way. But comedy is so much about pace. We are constantly working on the timing of things. This may be in a specific comedic bit, or it may be in the way a scene moves along to a comedic payoff. For instance, you could be setting up something for a laugh later in the scene or even the show. I suppose the biggest challenge is that in dramas you work on truth, but it can be meaningful to the audience in different ways. In comedies, it’s either funny or it’s not.

What do you like most about this play?

This play constantly surprises me with the issues it brings up.Racism, ageism, classism, ethnic identity, what it means to be an American.Weighty subjects for a comedy. But the playwright, Karen Zacarias, doesn’t really offend anyone, or bang us over the head with opinions. She lightly touches on the issues, surrounds them with laughter, and hopefully leaves the audience asking questions about themselves when they leave.

But ultimately I love this play because it is hysterical.There are so many drop dead funny lines.And there is such a farcical element to this show.I have pushed the actors to be as big and bold as they can in these moments. But also truthful.The only way farce works is through deep truth.It’s a fine line, and we are tiptoeing right along it.