Whisper in the Wings Episode 1523

0:00And Doug, there's nowhere I wouldn't go to help someone customize and save on car insurance with Liberty Mutual. Even if it means sitting front row at a comedy show. Hey everyone, check out this guy and his bird. What is this your first date? Oh no, we help people customize and save on car insurance with Liberty Mutual together. We're married. Ah! Mito a human, him to a bird. Yeah, the bird looks out of your leg anyways. Only pay for what you need at Liberty Mutual.com. Liberty, Liberty, Liberty, Liberty, Liberty. Tyler Reddick here from 2311 Racing. Another checkered flag for the books. Time to celebrate with Jamba. Jump in at JambaCasino.com. Let's Jamba. No purchase necessary. VTW Group. Boy, we're prohibited by law. CCNC. 21 Plus. Sponsored by JambaCasino. Hello everyone and welcome back into a fabulous new whisper in the wings from Stage Whisper.

1:10We are thrilled to be bringing you another production at a historic space in Lower East Side. Of course, I'm speaking about theater for the new city. At this venue, we've got our guest production of Dana too. Now, this is playing April 2nd through the 19th, as I mentioned at theater for the new city, with tickets to more information being available at theaterforthenewcity.net. And here to talk to us about her show is the playwright, Jasmine Hyman. We are so excited to learn all about this wonderful show that had an excerpt in the last year's Lower East Side Festival of the Arts. And we're excited to hear more about the full run this year. So with that in mind, let us go ahead and welcome in our guest, Jasmine. And welcome into Whisper in the wings from Stage Whisper. Hello. Thank you for having me, Andrew. It is wonderful to have you and have you back on. And I'm so excited to learn all about the full production of Dana this time around. So why don't we start the beginning? And have you tell us a little bit about what this show is all about?

2:12Right. So this show follows Dana too. And you might have guessed from the name. She is a artificial intelligence-powered robot who was created by Victor. The play follows her as she slowly becomes more and more human and begins to separate from the control of Victor, discovers her autonomy, and just differs from the human Dana that she was meant to create, who we also learned, but meant to replace. Sorry. Who we also learned more about throughout the plays that unravels. Yeah. And so I originally wrote this play in 2022, which has been really interesting because the AI Boom has obviously progressed substantially since then. And I've noticed some of the questions that I bring up are becoming ever more relevant, particularly what happens when people have a license to control an entity that isn't human, but may act as such. And my play is exploring the question of what happens when that thing

3:17that has been so severely dehumanized actually does experience humanity and where that line is and what does it mean to be human? And what do people do when they have license to treat something, however they want to, because they view it as subhuman? Yeah. That is amazing. What a story to be dealing with, as you mentioned, especially with everything that's gone on with AI recently. So you kind of touched on this, but what exactly inspired you to want to pen this work? So I read the play playing with fire, which is a Frankenstein adaptation when I was still in college, and it was incredibly interesting to me. I sort of started becoming also obsessed with this Frankenstein story, like early sci-fi situation. And I was in a playwriting workshop called Doubleness with my professor,

4:19Sherry Kramer, who is an amazing playwright herself. And I was sort of thinking about that framework of mirroring and doubleness and cycles and all of that stuff. And I just had a lot of creation stories in my head and sort of this idea of the monster story and the created monster. And like, first of all, I wanted to explore a woman in that role. And I wanted to explore the story from her perspective of what it would feel like to be created for the purpose of another person, pretty directly. And that's how I started writing it. And then when I write, I usually just turn my brain off and then I go a little bit of a lot and then I look back and I have a play and I'm like, oh, yeah, that's why I wrote that. So I wasn't really thinking of it that consciously when I was writing it, but through the editing process, that is what I came to.

5:20And there's an incredible journey right there. Well, let me ask you, you know, because turning to this upcoming run, this full production of it, what's it been like developing the show? I had a full production. Yes, so I've had quite a journey with the show. As I mentioned, I wrote it in 2022 and it was very different than how it is now. It was a two-act play and now it is a three-act full-length play. Part of like, editing I did was I designed for my senior working college as a playwright. I studied playwriting. I wanted to showcase this work. So I did a staged reading of it, which was an incredible experience. I learned a lot from that. And then I just kept sort of like coming back to this work. Like I've obviously written in four years, there's other stuff since then. But I kept circling back to sort of like a bit of like an obsession with like editing and like never really being done with it, which is what I love about playwriting

6:22is that you can go through multiple productions and stuff like that. And your piece is set in stone. You can always improve it. And then I ended up applying to the New York Theatre Festival. And I did a three-show run there. And that was a great sort of blueprint to be able to once again take what I edited and revised from that stage reading process into like a short run, like making it all happen on stage. And got that like feedback from the audience for like how it staged, like what issues that we had there. And then I was working at Teen Sieve for a couple of projects I was working on the LES Festival. And I did an excerpt there for the Festival of Dana too. And then I also assisted Directed Street Theatre with them. And then I submitted my play to have a full run there with Crystal and now it's being produced.

7:22So this is sort of, it's been like a very traditionally escalating journey of like getting to like a full full 12-show run. And I am so so excited to have it be produced at Teen Sieve because of the amount of collaboration that I've already done on Dana too. I have so many amazing people that I am excited to work with and have been, a lot of them have been continuously working with me throughout this process. Rosalyn Joyce and Martin Chalennor. There's three actors in the play. And those two have been with me since the New York Theatre Festival run and they're going to be back for this one which is super, super exciting. And then Marie, my director, we worked together assistant directing for Theatre for the New City's Summer Street Theatre Musical. And we had a lot of fun working together and I just really love his directing style. And so I asked him to work on this. And so yeah, I'm just really excited to be able to continue these working relationships that I built throughout my theatre career and Dana too specifically.

8:24That is wonderful to hear. Wonderful. Now you touched on this a little in our first question when we were talking about, you know, these corporations, these people who are licensed to control things that in theory don't have human emotions or whatnot. I mean, the subject of AI, it feels like it's kind of got taken a seat in the back burner. But that doesn't mean that the conversation or the things that people are raising about it have gone away. So is there a particular message or thought you hope audiences are going to take away from the show? Yes. So there's obviously the AI situation. For Dana too, I'm honestly using AI as a framework and also how I see it being played out in real life for power control and how specifically mindsets of like Vic, the male protagonist of the play who is Dana too's creator.

9:24He sort of starts out as like charming in a way and has this sort of like innocuous impulse to like dismiss or control or insert his own narrative and Dana too being a robot like that gives him license to do that because he thinks that there's no consequences for it so that it just escalates further and further. And so I hope that people take away, take that away as reflection of how unchecked sort of mindsets about believing that you have a right to power over another can sort of escalate and spiral until they end up causing a lot of harm. So I hope people use it as a reflection on both themselves and like the world around them and how like monsters don't exist. Like we're all human and human beings are capable of being attracted to like power and control and thinking that they're right

10:25to the point where they just will not accept any criticism and how that can sometimes lead to like a sort of like unraveling. And yes, so that is the main thing that I hope to take away. Also that just because something is not just because you're not dehumanizing a person doesn't mean that because a lot of people sort of treat AI like a playground free for all it doesn't mean that like what you're doing when you're interacting with AI or when you're creating like a subservient AI girlfriend or boyfriend or something which has been happening now which wasn't happening when I first wrote the play which is very interesting that that does affect how you view people. It's not happening in a vacuum. Yeah, that's one of the main things that I want to take people to take away. Those are some great thoughts right there. I do, I love those. I love those. And a great setup for my final question for this first part which is who are you hoping have access to Dana too? I am hoping that anyone who has felt dehumanized in the world or has felt like a sense of isolation

11:32that they're able to see Dana too as a character expressing her power and asserting her independence and autonomy. I also hope that like I said that people empathize or sympathize with Vic so that they can use that as a reflection on people and even potentially themselves and sort of use that as a catalyst for accountability and growth and keeping oneself in check. And not because one of the things about Vic is that he feels he is so morally correct that he does not ever question what he's doing and then it just spirals further. And so I hope people take that as a lesson and be open to being wrong and reflecting and growing as we all do as people.

12:44Well, I'm the second part of our interviews. We love giving all this as a chance to get to know our guests at the better. Pull the curtain back if you will. And I love to ask you what or who inspires you? What playwright's composers or shows have inspired you in the past? Or just some of your favorites? That is such a good question, Andrew. I find myself being like super tunneled visioned into modern female playwrights a lot of the time. I really like Lynn Nottage. Intimid of Harold was the use of like this system of corsetry in that play. I don't know if you've read or seen it is so interesting to me. And there's not to like spoil anything, but there's a scene that involves like touching through fabric which just like really ties together. The main character is a soist. And it just like ties together this like building of this like intricate system around corsetry and sewing

13:47and all of that and such like a beautiful like it's like a masterclass of structure. I have this. There's a scene. I mentioned playing with fire already. I was one of the main inspirations for Dana too. Beauty Queen of Lynn Ann is a play about a Irish mother and daughter relationship and elder care. And there is a scene in it which again I'm trying hard when I'm talking about this not to spoil anything. That involves a rocking chair and a realization when the lights come up where there's the character is talking to another character and a rocking chair. And then when the lights come up you realize something about the situation that just like shifts your entire perspective. What happened before and that is something that I love in playing writing that like something was happening all along. But your perspective didn't realize it like everything has always been true. But the play is just about revealing new information that changes the audience perspective. Like I love that.

14:47I love indecent by a pile of a Google that has a piece in my heart. I just read a lot of Dominique Morasos work just finished blood on the route which was a great great play. Yeah, sorry I'm rambling but I just I look playwright. Those are some incredible playwrights there though like as you're listening I'm like yep love them. So you are among friends there. Tell me Jasmine what is your favorite part about working in the theater? My favorite part about working in the theater and the reason I write for theater is because it is essentially collaborative which I think a lot of theater workers that is the main reason why we're gravitated towards it. But especially as a writer like writing can often be very solitary or isolating but when you're working on a play. It's sort of creating a blue print that has room for other people's perspectives and voices.

15:49Not just the audience like which is also like the audience completes the play. But also just like you are writing something that has the potential to be performed and directed and staged in like a million different ways. And it takes like a whole team in order to like really create a production and just the feeling of being one cog in the machine and like creating something that needs other people to survive and be on its feet. Just makes you feel like you're in a community and you're like nurturing that community and that's why I love playing writing and working in the theater. That is so wonderful and actually that is a good setup for my favorite question to ask us which is what is your favorite theater memory? Okay so my favorite theater memory I've been thinking about this recently because it's kind of hard to pick I think you know I work as a assistant director stage manager and I have a lot of memories from that with cast and crew and just like having fun together which I always think about.

16:57I think my favorite memory as a playwright and probably my favorite memory overall is the first stage reading I did of day no two. Because afterwards I was just in the audience and then when it finished I was just hearing people like talk and debate about the play and that was so fun. And just like knowing that like by watching the play and at that point it was like so it's so funny to look back on because the play was like so rough at that point. But just like watching people like talk about and be interested and like intrigued and be like blah blah and I had some people like come up to me and ask me questions and I even like some people were having an argument about like an element of the play and I tried to like give my two cents on it and they disagreed with me. But like stuff like that which that was just so fun and cool and why why I write for a theater is to like have that reaction of people and have it live outside of the performance so they take it home with them in the conversations that they're having.

17:57I think that was my favorite memory. Those are great right there. That is wonderful. Thank you for sharing that. Thank you so much. As we wrap things up I would love to know do you have any other projects or productions coming on the pipeline that we might be able to plug for you? Yes so I will be working as part of LES Festival of the Arts. I don't know if day no two will be in it or something else but I know that I will be at least like stage managing or I won't be as is interacting the festival this year unfortunately because the production doesn't line up well with it but I'm plugging that in general for viewers it's a free theater festival that goes on Memorial Day weekend and it is so fun and you can see a bunch of shows like 10 Minute Acts for free. excerpts from longer shows are terminate plays or there's jugglers dancers music acts it's great. But for me I am currently like halfway through the writing process of my new play and hopefully that'll have a production coming up but no news on that.

19:05I'm still on the writing stage so yeah. Fantastic well a great setup for my final question which is if our listeners would like more information about Dana too or about you perhaps have like to reach out to you how can they do so. Amazing so we have an Instagram that we just launched my director is mostly running it because I'm bad at social media but it's Dana ii.play on Instagram and in our bio there's a link to the website at. And see a link to buy tickets and also a link to a go fund me that we have just releasing ways that we know we have adequate stipends for actors and any. Expenses that come up and just you know for people potentially to know that when they see our play they are part of the reason why it happened and so yeah that's something that we're trying to do. As well and then you'll also just get some of the hind the scenes things if you follow our Instagram stay up to date with what we're doing and yeah my personal Instagram is jasmine adh i like I said I'm very bad at social media but I'm always open to DMs.

20:16Fantastic well jasmine thank you so much for stopping by and sharing your timely your evocative. This brilliant work that you have created I'm so excited for the full run this spring so thank you so much for your time today. Thank you so much and it's just lovely. Thank you. My guest today has been an absolutely amazing artist the playwright jasmine hymen who joined us today to talk about the full production the full rod of her show Dana too. It's playing April 2nd through April 19th at theater for the new city and you can get your tickets and more information by visiting theater for the new city dot net. We also have some contact information for our guests which will be posting in our episode description as well as on our social media post but get yourself to theater for the new city dot net right now get your tickets for this phenomenal work Dana too playing April 2nd through the 19th. So until next time I'm Andrew Cortez reminding you to turn off your cell phones unwrap your candies and keep talking about the theater.

21:24In a stage whisper. Thank you. If you like what you hear please leave a five star review like and subscribe. You can also find us on Facebook and Instagram at stage whisper pod. And feel free to reach out to us with your comments and personal stories at stage whisper pod at gmail dot com. And be sure to check out our website for all things stage whisper and theater. You'll be able to find merchandise tours tickets and more simply visit stage whisper pod dot com. Our theme song is maniac by jazar other music on this episode provided by jazar and Billy Murray. You can also become a patron of our show by logging on to patreon dot com slash stage whisper pod. There you will find all the information about our backstage pass as well as our tip jar.

22:24Thank you so much for your generosity we could not do this show without you. And Doug there's nowhere I wouldn't go to help someone customize and save on car insurance with Liberty Mutual even if it means sitting front row at a comedy show. Hey everyone check out this guy in his bird what is this your first day. Oh no we help people customize and save on car insurance with Liberty Mutual together we're married. Meadow a human him to a bird yeah the bird looks out of your leg anyways only pay for what you need at Liberty Mutual dot com. Liberty Liberty Liberty Liberty Liberty. Looking for excitement jump a casino is here play any time play anywhere play on the train play at the store play at home play when you're bored. Play today for your chance to win and get daily bonuses when you log in so what are you waiting for don't delay. Chamba Casino is free to play experience social gameplay like never before go to Chamba Casino right now to play hundreds of games including online slots.

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