Alternate voices have been written into the scores should an all-adult or all-child cast be desired. Also, nearly all of the characters could be played by males or females making this show amazingly flexible.
BEHIND THE CURTAIN: A Q&A with Julianna Wright and Brian C. Billings
What sparked the idea for this play?
Aesop is everywhere. People don’t realize how ingrained in us the stories are. I wanted to put together several of the stories into one narrative to show easily the stories build upon one another and how pertinent they remain today.
If you had to describe this play in three words, what would they be?
My three words would be fun, funny, and comforting.
Which character was the most fun to write and why?
I had the most fun writing the monkeys because they had to have Beatnik language. I had to do a lot of research and pick the most evocative phrases from so many enjoyable phrases.
Is there a moment in the play you especially love seeing in rehearsal or performance?
I think that the country-and-city-mouse scene is fun. Their story is one of my favorite fables because it’s a master class in character contrast. The actors will always enjoy pushing those extremes.
What do actors seem to enjoy most about performing this show?
The actors love playing multiple roles, and they appreciate that the vocals are challenging but not too complicated.
What’s something directors should know before staging this play?
Directors for this show should have fun always and keep the tone whimsical. Above all else, they should remember that this piece is an ensemble show, so people must like one another onstage and off for the show to succeed.
What was the biggest challenge in writing this play?
I don’t recall having many difficulties. I was working against a rehearsal deadline, but the deadline was flexible, so I didn’t feel rushed. Of course, I was writing with a composer, so I had to send feedback constantly to keep the songs developing properly.
What do you hope audiences walk away feeling?
I hope that people leave the show feeling that certain characters spoke to them personally. Adults and their kids should say, “That was fun!” and then go read the stories.
Just for fun: If this play came with a warning label, what would it say?
Caution: Morals Ahead.
Anything else you’d like to share with theatres considering this play?
This play can be a great tool for showing how one story can become deeper by mixing related stories into key plot points. The challenge lies in answering the necessary worldbuilding questions: Where are the other stories coming from before they collide? Where can the stories intersect believably? How are the stories stronger when they work together?