'It’s so complicated and alive and beautiful and such a rigorous study of women that it’s mind-boggling to me that it isn’t done more often.'
but because there are elements of this production that beg to be seen . Written well before the rise of interactive theater,is a labyrinthine work. That’s not only to say it is complex, circular, or challenging : it is simply and literally a labyrinth.
BLAIN-CRUZ: One of the things that I loved about the play is feeling like there is no one unified perspective. So when you look at these women, you can’t say that you have an authoritative perspective on them because you’re operating within a completely different relationship to time and space.BLAIN-CRUZ: Everybody’s experience is unique. I think in terms of creating the space, there’s also something about how the body functions as an organism. All of the spaces are connected.
It feels like a lot of the way the audience was used in space and the way the actresses moved in that space functioned to break down or transgress boundaries. It seems to speak to women’s experience with or of boundaries more broadly. BLAIN-CRUZ: It was super challenging. I think that reading that experience of Fornes thinking, “Great, there’s a study in this theater. There’s a kitchen. A bathroom. This living room is great. Oh, there’s a piano, let’s use it” and playing with the materials she had is really amazing. I think for TFANA, it’s a beautiful, open vertical space, but people take up room.
BLAIN-CRUZ: There were some people that were saying, “The 1930s didn’t matter. This is a play for the ’70s.” You read reviews saying, “It feels very contemporary.” And I thought, okay, that’s really interesting. In another interview, Fornes talked about how she just liked the idea of a moment pre-Freud where people just said what they meant. I was like, “Oh, that’s kind of interesting. Like I’m saying what I feel in the particular moment and there’s no pretending. I don’t lie.
STILLWELL: It does break down to some kind of boundary to have that. Even to interact with people as we’re moving from place to place is different from your typical theater experience where you’re sitting alone in silence. It’s just you.
BLAIN-CRUZ: It’s funny. I think, if we think about it from Julia’s position, none of the other characters in the house see what she goes through but us. Only we get to witness that. It’s a little bit what you talked about, how we’re implicated inside of that space. But I think on the other side, the integrity or the joy of the piece, is that these women are not having to perform roles that society is asking of them in this particular house. They get to just be.
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