1. Talk about your background as an artist. What sort of artistic experience are you bringing to this production? Have you been involved with 20% Theatre in the past and, if so, in what ways?
My focus in art is writing scripts for comics (and a few plays). I like to explore the juxtaposition of words and images. Often this is on the page, as opposed to a stage but there is a lot of overlap with the visual story telling of theatre. This is my first time working for 20% if you don’t consider chauffeuring Shalee to and from rehearsals.
2. How did you get into projection design, and what has it been like to specifically design for The Terror Fantastic?
Projection design is both new and old for me. There’s certainly a lot of overlap with comic illustration and visual storytelling that comes into the play. Plus I have a weird love for Powerpoint. However, taking what’s in my minds eye and putting it to paper or—er—projections is a different story.
My first theatre projections were for a Fringe show last summer. That required a more cartoony look and for a show I wrote. So I was mindful to not write anything out of my skillset. Terror Fantastic challenged me to stretch as a visual artist creating illustrations that were fantastical in nature but grounded in a realistic depiction.
Terror Fantastic has also given me the chance to start learning Qlab, which was another fun hurdle and I’m glad to add it to my tool belt.
3. Why do you feel it is important to share this story/the story(ies) of this production with the community?
Like all 20% Theatre productions, The Terror Fantastic is filled with layers of necessary stories for generally under represented groups. Personally, I connect to Iz’s relationship to anxiety as it’s been something I’ve been working with most of my life.
For me, anxiety can cause shame as I react irrationally to false stimulus. No matter how much I understand something logically there are times I cannot help but act on fear. All the while considering in what ways my trepidation can help me.
I see a lot of truth in the shared performance of Addison and Hillary. The way anxiety rears its ugly head, while other times can provide a sense of comfort.
4. What social issues are important to you and how do they inform the art you create?
As a writer with plenty privilege, I think it’s important to challenge the systems that center me while pushing away others. In my chosen genre of super hero narratives that often means examining portrayals of masculinity, or providing heroes that marginalized children can see themselves reflected in.
7. When you’re not rehearsing for The Terror Fantastic, how do you spend your time? What are some of your hobbies or passions in life?
I’m excited to open so that I can play some video games. There’s also a lot of movies out that I’m excited to see. And I guess I should spend some time writing, but I also miss my cats.
8. In The Terror Fantastic, we get to experience some of the main characters’ fantasies. What are some things you fantasize about?
I mean, being a full-time artist would be pretty great. It’s one thing to write comic books off as a taxable expense. It’d be nice to consider reading them as part of a 9-5.
