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WORSHIP LEADER JOSHUA TALKS ABOUT CHURCH

Joshua Napier (Worship Leader) considers himself a San Diegan though he grew up in Cincinnati, Ohio. As front man and rhythm guitarist of the band The Social Animal, you can catch him playing all over San Diego. He has also been a cast member of InnerMission's MENding Monologues contributing original works to continue the conversation on ending violence against women and girls in this world.  Currently he is pursuing an education in behavioral health with the goal of working as a therapist focusing on both grief/end-of life care and working with sex workers and those who have been trafficked.

Tell us about yourself…

My name is Joshua. I often get mistaken for Jesus which seems perfectly appropriate for this show. I'm a local rock and roller and I front the band The Social Animal. I'm bad at this kind of stuff.

What interested you about "CHURCH"?

I'm a major fan of the work that InnerMission Productions has chosen over their history as a company so I jumped at the invitation to be part of CHURCH. I have a rather complicated relationship with the church and religion and this play explores some interesting territory that I found exciting and relevant to my own experiences.

How are you preparing for this production? Maybe tell us a bit about the link between the music and the script...

This has been a fun process crafting the music with Mike that we're using in the show. Given the surreal nature of the play, it has been a creative's dream to play with different sounds and chords to accent the incredible performance of the main cast during their various sermons. Music is a universal language and I'm hard pressed to think of any religion that does not include music in some form in its services and rituals, so it is an important element in this show.

Why CHURCH?

My earliest experiences with music happened in the various Southern Baptist churches we ended up spending time in throughout my childhood and early adolescence. From an early age I told my family I wanted to be a singer and play music, but living in deep poverty limited access to lessons and instruments. Besides being in the school choir, church was another place to develop my singing and musical education. I have fond memories of singing some incredibly powerful music in church and it has had an enduring influence on the way I sing my signature style of bluesy rock n'roll. I love being part of this show because it is bringing back some good memories of the time I spent in church rather than the more harmful ones regarding being Queer and all the hellfire and brimstone I have for so long associated with my religious experiences.

The show for me is about faith, but how that faith can sometimes prevent us from living full lives or being an active participant in positive change. It's about the Church of Humanity with all of our ugliness and beauty that exists side by side in a strange balance that we somehow make sense of every day. It's about our personal struggles with figuring out how we're going to human everyday with whatever we have to work with in our lives. I hope that, like church, people take from it what they need and what they can share with others to spread a little more thoughtfulness and compassion we so desperately need.

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WORSHIP LEADER JAMES TALKS ABOUT CHURCH

James M. McCullock (Worship Leader - guitar) James has a career in theater of over 35 years that has spanned the globe. He has been an actor, a director, a designer and now he can add musician to his list of theatrical credits. You can find his band (Tiny Frank) on SoundCloud where both of their albums are available for listening for free. He wants to thank Kym for the invitation to be a part of such a powerful piece.

Tell us about yourself…

James M McCullock: Father, son, friend, brother, artist, wanderer, questioner, heart.

What interested you about "CHURCH"?

It's an intriguing piece of storytelling. The playwright has managed to speak for so many people on such a polarizing subject in a way that is heartfelt and respectful. It also gave me the opportunity to work with Kym, Joshua and InnerMission which I couldn't say no to.

How are you preparing for this production? Maybe tell us a bit about the link between the music and the script...

I created a playlist of songs that represent my own thoughts and feelings around this subject. It helped me find the voice for the few pieces in the show that I composed as incidental music, because it put me in a head space that felt appropriate to what Kym and the cast are doing. Plus, Joshua and I work well together musically so that's a foundation I am grateful for.

Why CHURCH?

Church is what made me a musician. I grew up Catholic and used to sing in the folk group at mass. At 19 I bought a $9 guitar and taught myself to play. I started playing with the folk group and they began to teach me songs and chords. It was a lot of fun. I would not be a songwriter with two full lengths albums of original work without Church. I may not participate any longer, but it still has real estate in my heart for that blessing.

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REVEREND JOSÉ talks about Church

Salomon Maya (REVEREND JOSÉ) - Regional acting credits: San Diego REP: Beachtown (Benny Ramos-Leibowitz); Manifest Destinitis (Tomas), u/s: Honky, Federal Jazz Project, In the Time of the Butterflies; La Jolla Playhouse: El Henry (Mago); OnStage Playhouse: Coyote on a Fence (Sam); Point Loma Playhouse: A Permanent Image (Bo). Regional playwrighting credits: Splitting Adam; Gridlock and The Mudanza (Teatro Punto y Coma); anomaly.exe (Scripps Ranch Theatre: Out on a Limb). Salomon currently works as Creative Director for Televisa San Diego/Tijuana, a monthly columnist for L’CHAIM San Diego Magazine and a board member of the NTC Foundation at Liberty Station. Up next for Salomon will be the narco-comedy world premiere of Herbert Sigüenza’s Bad Hombres/Good Wives at the San Diego REP in October.

Tell us about yourself…

Proud to say I was born, raised, and have lived my entire life in San Diego (with the exception of the two years I lived in Los Angeles trying to make it as a Stand-Up, as you can see, I sucked). My current "normal" job is being the Creative Director for a firm representing local Spanish language TV station Televisa (channel 12). My daily duties include producing morning show segments showcasing this amazing city I call home. I love writing and consider myself a much better writer than an actor. When not working on TV I try to spend as much time with my family. Especially watching Pixar movies with my three year old mini-me, Jacob.

What interested you about "CHURCH"?

It's my opinion that we live in precarious times. Today, so-called leaders have abused the power of "words" by plastering them on social media and denigrated the basic function of a well constructed sentence. When I first read Church by Young Jean Lee I was floored by how beautifully written it was. And as an actor, to be able to say these amazingly well written paragraphs made me feel all the feels. Furthermore I fell in love with the fact that the text causes the audience to feel something as well, whether that be confusion, anger, discomfort, or all of the above. Isn't that what GOOD theatre is about? Church will 100% guaranteed make the audience feel. You will not just "go see" the show. You will question. You will squint your eyes and tilt your head and possibly ask yourself if you just heard what you think you just heard. 

How are you preparing for this production? Tell us about your rehearsal process...

This is the first show I have done which is very monologue heavy. When labeling myself as an actor, I always liked slapping typical monikers on me like "character actor" or "prefers realistic dialogue." After reading Church, I won't lie, I was petrified. After getting cast, my anxiety went through the roof. I kept questioning my decision as to how to not only memorize so many words but how to make it sound like I was real, and not some wannabe regurgitating lines. In the end, and sorry to sound corny, it just took faith. Faith in me as an actor with a full time job, full time family, full time life to be able to memorize and furthermore, emote that very same faith José has in God onto the stage. In the end, there isn't much of a difference between me, a Mexican-Jewish born actor, and Reverend José, an incredibly spiritual Christian preacher. We both love putting mirrors in front of all who stand before us.

Why CHURCH?

Why Church? Because I didn't believe. I never did. I always felt people of faith were weak who yearned to be coddled and protected by an invisible boogie man who tended to hate more than he loved. All of that changed on August 20th, 2015. I became a father for the first time. And seeing my son breathe for the first time, and then move, and then drool, and then eat, and then (of course) poop, and then talk, and then grow...and today. There's nothing I believe in more than the power of the almighty. Not the one we read about in books or hear about from old wives tales. But the one that can make me love my son so unconditionally...that is why I believe. That is why...Church.

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REVEREND VERONICA TALKS ABOUT CHURCH

Veronica Burgess is a theater graduate of SDSU.  She has worked with Playwrights Project, Teatro Izcalli, The Old Globe, Circle Circle Dot Dot, Amigos Del Rep, and looks forward to working with InnerMission again.  You can find her performing on many different stages in San Diego, from theater to improv, to standup comedy. I am very proud to be sharing the stage with this cast, and am grateful to InnerMission for the opportunity.  Some of my favorite rolls have been, with butter.

Tell us about yourself…

I'm originally from Tijuana, Mexico. I started 2nd grade here without speaking English.

I was a late comer to theater, as I had never been in a play, before declaring Theater as my major when I transferred to SDSU. Once I got a taste of the stage and began to learn more and explore different types of theater, I declared "Performance" as my emphasis.  Go figure!

When I got out of college, I didn't do much auditioning or performing, until I found "Improv". Improvisational Theater suddenly became a love I didn't know I had. This led to exploring stand-up comedy, which I also love, and didn't realize I would.  Since I was a little girl, comedy has always been a love.  I admire great talents such as Lucille Ball, Carole Burnett, John Ritter, and the ever-still entertaining Steve Martin & Martin Short.

It feels good to be working on something a little more serious, than always looking for the laugh.  I had missed being on the theatrical stage. Yay.

What interested you about "CHURCH"?

To be honest, working with InnerMission was the first appeal.  I always enjoy the work they produce. And, you can bet it will be something with depth and heart.  With that said, once I learned more about the script, I was very intrigued.  I knew this would be a challenge, but also an opportunity to question my own view points.

How are you preparing for this production? Tell us about your rehearsal process...

There has been a lot of talking, a lot of sharing and exploring of ideas.  There has been a lot of sharing of experiences and reflecting on our own relationship with religion.  Every day has been a learning experience, and an adventure. I have been trying to find my own relationship with the words of my character.  Truly thinking of how much of myself is in her, and how much of her I allow into me. As some of the script suggests, we are all a little part of one another.

The rehearsals have also come with their challenges.  My dancing skills aren't exactly up to Solid Gold Dancer status (am I dating myself?), but I'm giving it my best, and this kid's got heart!

Why CHURCH?

Growing up, I was raised Catholic, though we weren't weekly church goers.  The basics were implemented, baptism, communion, always cross yourself when you pass a church... but I was not told constantly that I would go to Hell.

I consider myself more spiritual, than anything.  So, the idea that "church" can be whatever represents a "holy place" to you resonates with me.  For some, it's the gym, book club, theater, and yes, even actual church.  I love the idea of exploring what it can mean to everyone.  Because in the end, to me, it really makes no difference who or where or how you worship. If you have faith, you have heart. If you have heart, you have compassion. And if you have compassion, then there is kindness.  Having started performing at a later age, it took me time to discover theater is like church to me, too.  It feeds my soul. For some, that's what Jesus does. Amen.

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REVEREND LAURA TALKS ABOUT CHURCH

Laura Preble (REVEREND LAURA) - Laura has appeared at the San Diego Repertory Theater (Six Women With Brain Death), Onstage (Diary of Anne Frank), San Diego Fringe Festival (Big Kitchen), and many others. She is an author, and her next novel, Anna Incognito, will be published in early summer. She dedicates Church to her dad, Father Richard.

Tell us about yourself…

Former Catholic and constant seeker of meaning, Laura likes to think about things that have no answers. Her most recent onstage appearances were in THE BIG KITCHEN (THE MUSICAL) at the San Diego Fringe Festival, and THE DIARY OF ANNE FRANK (Onstage Playhouse).  She’s also been in the Rep’s SIX WOMEN WITH BRAIN DEATH, and an understudy for TURBO TANZI, and originated a role in Gina Leischman’s LIFE IS A DREAM.

What interested you about "CHURCH”?

I’ve always been fascinated by beliefs. I trained as a journalist, so finding the truth has always been important to me, and when I started to question the spiritual world and the catholic beliefs I grew up with, things started to get pretty topsy turvey in my life. CHURCH somehow verbalizes a lot of the doubts, fears, hopes, dreams, and terror that goes with thinking about anything deep. I won’t say that the play has explained anything to me, or given me any long-sought answers; but it has made me refocus and reconsider my viewpoints usually ten times per rehearsal. It’s like looking at the topic of God and religion through a large prism, and every time it moves slightly, you see a different image. Your reality doesn’t stay rooted in this play. It’s a kaleidoscope of the subconscious, focused through a stained-glass window.

How are you preparing for this production? Tell us about your rehearsal process…

I started by reading the script, which at first seems fairly short and not challenging. But like most things, that’s how it seems on the surface. Digging more deeply, I found layers and subtleties I didn’t see initially. Patterns emerged, messages, secret codes…and who knows if I put them there or if the playwright put them there? That’s one amazing thing about literature. You never really know. As to rehearsal process, I’ve spend a lot of it diagramming my monologues, practicing the singing and coming up with musical harmonies, and trying not to look ridiculous dancing. I found that our small cast thinks in such similar way to each other, it makes it easier to get together and perform even though we have little interaction as characters on the stage. It feels like we were all chosen at just the right time for just the right piece. Divine intervention? Who knows.

Why CHURCH?

I needed to get back onstage. Raising children has made it very difficult for me to do any theater work. My situation has finally settled enough that I felt I could try. It’s been a juggling feat, definitely, and I am more tired now than I was the last time I worked on a play. But this is perfect vehicle for me to get back into it. It’s not terribly long, there is a lot of great interaction with the audience, there is lovely music, and I just can’t wait to see how people react to it.  It’s by turns holy and secular, smart and smart-ass, but always it comes down to accepting our human weaknesses and knowing that we all have them. And that those weaknesses do not exclude us from grace.

TICKETS: www.innermissionproductions.org

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REVEREND Andréa talks about CHURCH

Andréa Agosto is excited to for her InnerMission Debut! An award winning filmmaker (Kansas City Film Fest) and actress (International Model & Talent Association), Ms. Agosto is thankful for each performance opportunity. Her favorite credits include: Bull in a China Shop (Pearl), Cardboard Piano (Adiel/Ruth), Homos, or Everyone in America (Laila) at Diversionary, Avenue Q (Gary Coleman) at Ocean Beach Playhouse, The Best Goodbye (Sabina), Cell (Gwen) at Mo'olelo, You Can't Take it With You (Rheba) at Lamb's Players Vanya and Sonia and Masha and Spike (Nina), Harriet Jacobs (Mary, U.S.), Bare (Tanya), Broke-ology (Sonia, U.S.), Flyin' West (Minnie), Mufaro's Beautiful Daughters (Manyara), Working (Maggie Holmes), Big River (Alice), High School Musical (Taylor), and Grease (Rizzo). She hopes to inspire her Drama students to continue to pursue their dreams by leading by example. For more information, please visit: www.andreaagosto.com

Tell us about yourself

Talking about myself I'm a comic book and sci fi nerd with a penchant for illustration. I love all of the arts, visual, performing...and all the subcategories. I started acting by accident, and then just kept on going because it was a pretty great accident. My day job consists of hanging out with crazy kids with an immense amount of talent as I am an English and Drama teacher. Fluent in Spanish, and awkward at the ukulele...that's me.

What interested you about "CHURCH"?

As someone who was raised around various denominations of Christianity, I thought it would be interesting for my past and theatrical aspirations to coexist. The script is very different and evokes a lot of memories that I have from growing up in churches. I can see different people I've met in each of the characters in many parts of the play. In a way, it is a bit of nostalgia for me paired with the kind of love I hope to see everyone receive.

How are you preparing for this production? Tell us about your rehearsal process...

Well we meet and rehearse. We've been dissecting different portions to try to get to the meat of Young Jean Lee's message. Then there's also the cardio. That was a bit of a shock for me, but I'm enjoying learning to not just use my face and voice, but also my body to tell a story.

Why CHURCH?

This is an intimate look at religious beliefs, how we interpret our religious texts, and how we try to live out what we think the best parts are.

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Meet the Melancholy Cast: Hannah Logan

Tell us about yourself…

Oh dear God, Kym... most mortifying question ever asked.My first thought is I am Southern. That, that started the ball rolling, but then I just think I am terrified by the over-abundance of trail mix at rehearsal and am not exaggerating when I say I gained 5 pounds in two weeks from it and that that made me obsessive...that THAT really tells you more ABOUT ME... that, at first I misspelled exaggerating... and that made me obsess a moment, too... so now I have hurled myself back into hot yoga, to fight the inner demons...of melancholy, about what I think is a "body problem"... but then, the five pounds are not the problem, are they?...the problem is that the slow drip of "not enoughness", or "too muchness" of society...or "must get it rightness," bring on a pervasive, sometimes unrelenting ....well, MELANCHOLY... an ache, that can turn into a crushing weight that can get into one's very bones, that does, in fact feels like the weight of the world... that feels like it is not one's own... that feels like it is not from this lifetime...that feels like it is a little bit of everyone's... that is why my heart breaks a little when I witness someone else's burden...that is why I had to leave the South where too many are convinced the burdens of certain people...certain races, genders, sexual orientations are invalid... which is why I feel called to the arts, to voice the melancholy of others... That's about me... but then it's not about me...even when I think a very self-absorbed thought...like, "Oh, my God, I'm horrible for my uncontrollable consumption of trail mix,"...it's about history, my pain, our pain... the stories we have been told about ourselves that hurt us that we need each other's help to heal from...and HERstory ... and THEIRstory and YOURstory and how we are in this together

What interested you about "Melancholy Play"?

I get Tilly... hard. Feelings of sadness, depression, despair, grief.... an empathy at times that feels like it is not of this lifetimes. I have lived this most of my life... this intensity of feeeling. I have an intolerance for meanness. When I witness it, my heart breaks, and I feel a visceral need to protect the wounded that is so primal it has caught me off guard. I have wept for love of strangers and a connection to humans that I did not understand. I have always been sensitive in a way that was kind of excruciating. It is exquisite in times of joy and soul-crushing in moments of sadness or loss. Today, in this time when people with the power to do so much good are showing such little regard for humanity, the purity of Tilly's heart calls to me... to feel the pain of each other, to have empathy, to embrace and comfort ourselves and each other, to see the beauty of our brokenness, and take the time to heal our wounds... to care enough to do that... and MOST IMPORTANTLY to recognize that it can't be done alone.

How are you preparing for this production? Tell us about your rehearsal process...

To be frank, I have been going through quite a challenging time in my life, which has been preparing me for Tilly... it has required opening up to those who love me, trusting them, and deepening my self-compassion... this rehearsal process has been VERY different for me... I am usually very methodical, have my lines down cold by the second or third week of rehearsals, very "Eye of the Tiger", but life and some personal challenges have made that just not the method of this rehearsal process... so my rehearsal process has called upon a kind of compassionate reserve I usually only have available for others... my perfectionist standards unmet, I am left with a very real "Tillyness", actually... attempting to "cultivate a sensation of gravity,"...I usually rely on the text first to find the heart of a character, but sense my concentration has been off, memorization slower than usual, the process has been in reverse... melancholy first, memorization second... I am trusting... it seems always the case that whatever show I am doing it is exactly what I need or what I am facing in my life at that time... when I wanted to get my singing chops back, I got cast in a singing role... feeling blue, but also wanting to do a comedy?... here comes Tilly...it never fails.

What do you hope our audiences take away from the show? Feel deeply. ALLOW it all. ALLOW others to feel it all too. Some feel in a way and on a level that you may not understand, a way that is excruciating. You may never understand, but that doesn't mean you aren't needed. Those are the people who need you the most.

You can purchase your tickets for The Melancholy Play which opens November 10th at http://www.innermissionproductions.org/tickets

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Meet the Melancholy Cast: Patrick Mayuyu

1. Tell us about yourself: I was born and raised in San Diego, CA. I’m certain there’s a word for being melancholy about being from a vacation destination while longing to travel to other vacation destinations, but I don’t know what that word is. I am a local stage actor, singer, dancer, choreographer, poet, activist, producer and hired singing telegram performer - all things geared toward bringing people out of melancholia. Not only am I a proud company member of InnerMission Productions, but I am also a founding member of MaArte Theatre Collective - an organization dedicated to creating space for the Filipino-American experience through dynamic storytelling. In my spare time, I take naps, Instagram, eat pie and practice origami.

2. What interested you about Melancholy Play?: Sarah Ruhl. She writes in a dreamlike poetic format. I like how it explores the concept of sadness or longing for something more and how it affects those around you, but in this absurd, quirky, melodramatic metaphorical funny kind of way.

3. How are you preparing for this production? Tell us about your rehearsal process…: Carla really gives us a lot of space to play and explore, so we’ve been having fun with that. For me, I’m still discovering all the symbolism in all the events that happen in the story. I’m also really trying to listen and hone in on my fellow cast mates, as some of the dialogue is said in unison and there are couple times where we get…umm…musical.

4. What do you hope our audiences take away from the show?: I hope the audience walks away motivated to call their close inner circle of friends; to not only ask how they’re doing, but to “go where they are and get them.”

Get your tickets NOW at http://www.innermissionproductions.org/tickets

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Melancholy Cast Intros: Cristyn Chandler

Tell us about yourself… My first love is theater so I am thrilled to be on the stage again. Over 20 years of acting, each day I am either coaching acting to kids, studying lines for a play, getting ready to audition for a commercial or taking acting class. Right now, I’ve dove into the podcast world which requires me to hone in on my improvisation skills. Check out, “You’re Gonna Die Alone”. Although the title sounds a little bleak, it’s a very funny yet self-deprecating show on celebrity relationships.

What interested you about "Melancholy Play"? It’s weird! But it's just ‘weird’ enough to come back around to being funny. Melancholy Play is one of those plays you read that you laugh at the oddity, but at a closer look it has message. It is an emotional roller coaster but in a funny melodramatic way. I loved watching the main character be confident in her melancholy and then again in her happiness.

How are you preparing for this production? Tell us about your rehearsal process... I am having so much fun with this rehearsal process. As an actor, sometimes you have to keep your emotions contained. This part gives me permission to have fun!

What do you hope our audiences take away from the show? I’m not sure- Maybe I would want them to be a little bit more compassionate and have more empathy towards people suffering with emotional issues. But I especially want them to laugh at the absurdity and quiet the melancholy-if for only 90 minutes.

The Melancholy Play opens November 10th, get your tickets here:

http://www.innermissionproductions.org/tickets

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Melancholy Cast Intros: Scott Striegel

Tell us about yourself… It has been nearly 8 years since I have performed in San Diego. My day job took over my life and Work took away the option to devote enough proper time to a creative project. I have recently made changes in my life that have allowed me to reignite my true passion and do what I love most… collaborating on great storytelling!

What interested you about “Melancholy Play"? I was intrigued by the concept of embracing ones sadness and how in other cultures it has its rightful place. Compared with American values of being told to “not be sad” at whatever the cost. Mourning, longing, and missing things and people are viewed as negative feelings. I liked the concept that we shouldn’t put a value on any feeling.

How are you preparing for this production? Tell us about your rehearsal process… I am playing with concepts of being so overcome with feelings of melancholy that are foreign and that my character doesn’t really know how to process them- this makes him behave primally and childlike.

What do you hope our audiences take away from the show? Recognizing the importance of acknowledging true clinical depression while allowing melancholy to exist, as all other emotions, temporarily. How wonderful it can be to feel sadness.

The Melancholy Play opens November 10th, get your tickets at https://www.ticketor.com/innermission/default

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Melancholy Play Meet the Cast - Vanessa Dinning

Tell us about yourself…

I'm a Brit who transplanted in San Diego 12 years ago. In the UK I trained as an actor, voice and dialect coach and musician. I'm so lucky that I get to be able to do all these things here in San Diego's vibrant and diverse arts community.  I love to read.  I love choral singing. I can say the alphabet backwards. I'm a terrible cook.  I don't like almonds.

What interested you about "Melancholy Play"?

When I auditioned, I was auditioning for the entire InnerMission season and didn't even know what the plays would be.  When I learned about Melancholy Play, I hadn't ever heard of it, nor was I familiar with Sarah Ruhl's writing, other than Dead Man's Cell Phone. In exploring this play, I am both fascinated and frustrated by how it behaves and how Ruhl writes. Nothing is obvious, choices are sometimes overwhelming, and there's no "wrong" answer.  There are so many unanswered questions and so we have to try lots of different ideas and decide what we think works best to tell our version of the story.  I love the idea that other productions of this play could (and most likely are) hugely different. I also love how she brings a really unlikely group of characters together, puts them in unusual situations and then lets them be.  As a musician, I am also intrigued by how she uses music in this play.

2.  How are you preparing for this production? Tell us about your rehearsal process...

I serve 2 roles in this production.  As an actor, playing Joan, my biggest challenge has been to not be literal, to not get caught up in trying to make literal sense of everything, but to trust that it's OK if things don't quite make sense, if characters behave oddly, and to see where the play takes me.  I usually come to the a rehearsal (close to) off book and with a really solid grasp of how a play and character will work.  With this play, I really had no idea of how things would work and so the process has been about discovery, flexibility, collaboration (more so than usual), trust and trying to live in the moment.  I've so enjoyed being creative with this group though. My sense of the play is continuously shifting and I think it'll change from night to night depending on the audiences' reactions. My other role is that of the "underscorer." Ruhl specifies a character in this play who plays cello.  We may be the first production to have the cellist character be the same actor as one of the other characters. It's been a very cool journey listening to the language in the scenes that require underscoring and improvising the "soundtrack."  It comes out a little different every time, but it's fun to play around with the music of melancholy and musical references that help to underpin and heighten these specific moments.

3. What do you hope our audiences take away from the show?

I really hope that audiences come to the show with an open mind and are prepared to just accept the actions of the play.  It is absurd, funny and delightful and I hope audiences can approach the play with the same sense of wonderment and openness as a child might. Ruhl explores lots of themes and ideas in this play: love, romantic and platonic, relationships, the expected and the unexpected, what it is to be happy, what it is to be sad, how we try to control others based on their emotional state, how we change and metamorphose given our emotional state and what this does to individual and group dynamics and so much more.  She throws out a lot of questions.  Even in it's absurdity, there are so many realistic moments that I think audiences will relate to. I don't think audiences will leave feeling melancholy themselves.  I hope they leave feeling uplifted, having laughed at this comical commentary on how we idealize unhappiness.

Previews start November 10th, get your tickets here:

https://www.ticketor.com/innermission/default

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REVOLT CAST INTERVIEWS KATHI COPELAND

Kathi Copeland’s recent credits include Mrs. Elizabeth Hobbs Keckley (Old Globe Theatre), Falling (InnerMission), Good People (Scripp’s Ranch), Precious Little (InnerMission/ Craig Noel Nominee Best Actress 2015), Car Plays (La Jolla Playhouse), 24 Hour Thing (San Diego Fringe 2015-2017), Kin (Ion Theatre), To Kill A Mockingbird  (New Village Arts), San Diego I Love You 2.0 and Warrior’s Duet (Circle Circle dot dot), and Community Voices (The Old Globe)

Tell us about yourself...

I’m an actress, mother and an activist.

What interested you about “Revolt”?

What interested me was this idea of Feminism.  There are woman who can’t even bring themselves to say the word Feminist because it is often wrought with shame. Words. Language and how it affects us and defines us.

This play deals with how we are treated…sexually, in the work place, shamed by other women.  Our walk in a world where we are taught to protect ourselves, our bodies, and if we veer from that role and are strong and resilient, we are bitches. It’s not a time to be well-behaved. We’re not going to have equality unless we take action. 22 words are used to describe men and promiscuity, they are celebrated. 224 words are used to describe woman and promiscuity but they are condemning and derogatory. Choice is not enough it has to translate into action. This is a failure of hope. It’s time we put our bodies in the way.  We’ve got to be allowed to be nasty and wicked.

How are you preparing for this production? Tell us about your rehearsal process...

I read a ton about feminism to prepare for this, including the “Scum Manifesto”. I’ve honestly lived through most of these issues, so there’s that too. The rehearsal process is a very safe place which is especially needed when dealing with these difficult issues. We did a lot of trust exercises and talked very openly about how these issues make us feel. How they have affected us. How they still affect us. We talked about making certain we did self-care while preparing for this being a part of our DNA for a couple months.

What do you hope our audiences take away from the show?

I don’t think it’s possible to not see yourself in some way in this piece. It will resonate with people. It may anger them. They might walk out. I don’t know. I do know they will have many, many opportunities of self-reflection during this show. I can’t wait to hear the talk-backs because there is so much to discuss.

Photo Credit: Daren Scott

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REVOLT CAST INTERVIEW WITH KIRSTIANA ROSAS

Kirstiana currently attends UC San Diego. She will graduate in 2019 with a B.A. in Theatre. She recently completed the Steppenwolf West Summer Intensive held at the USC School of Dramatic Arts. Acting Credits include: Cecilia in Fefu and Her Friends (Honors Thesis Project), Kelly/Kaliope in She Kills Monsters (UCSD), Dawn in All in the Timing (LBCC), Leigh in Really Really (LBCC/Irene Ryan Nominee), Roberta in The Mint Juleps Trilogy (LBCC).

Tell us about yourself?...

I’m 26-years-old and I’m recently married. I’m about to begin my senior year at UC San Diego, majoring in Theatre with an emphasis in Acting and Movement. This is my first regional theatre production and I couldn’t be more thrilled to be making my InnerMission debut in a production that speaks volumes about societal views on sex, gender roles, and equality. Outside of school and theatre I really enjoy all things nature (hiking, camping, and exploring the world with my husband).

What interested you about “Revolt”?

What really caught my eye about “Revolt” was Alice Birch’s ability to discuss all the taboo topics that people avoid on a daily basis, and she does so without any hesitation. This dialogue and language are both honest and blunt, yet can still be empathized from the perspective of any gender. Even if they haven’t endured the hardships that these characters have, the audience can still find a little bit of themselves in every scene.

How are you preparing for this production? Tell us about your rehearsal process...

What I love about the rehearsal process is that Kym really focuses on creating this  trusting environment for everyone, which extremely important to me. It’s become a place that really focuses on serving the ensemble, while simultaneously taking time to serve ourselves. This play is a beast and having a space in which we can allow ourselves to be pushed to the edge, and be vulnerable without judgement really allows for us to enjoy the process of discovery together.

What do you hope our audiences take away from the show?

What I really hope audiences take away from this show is empathy and self-reflection. We’re still living in a time that has so much hate, anger, and violence, and I hope that after seeing this play and really listening to the words, the audience can walk out with this newfound strength to be their best version of themselves, speak out, and spread their love and kindness around the world.

Photo Credit: Daren Scott

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REVOLT CAST INTERVIEW WITH CARLA NAVARRO

Carla Navarro is thrilled to be back with InnerMission Productions. She earned her Theatre degree in Santiago, Chile before moving to San Diego (2007). She has been on local stages with OnStage Playhouse, Lamplighter’s Theatre, Talent To aMuse, DangerHouse Productions, Chronos Theatre, La Jolla Theatre Ensemble, and Amigos del Rep.

Tell us about yourself…

I started my acting career in Santiago (Chile), where art is viewed as a necessity of expression after artists were repressed from using their creativity to provoke any kind of thoughts during the dictatorship in the 70s and 80s.

My background from a home where women are encouraged to be very opinionated and a culture that encourages political speech in its artistic expression has formed me to be an actor who seeks to explore a variety of artistic expressions to open conversation about topics people do not feel comfortable to talk about.

After moving back to the US in 2007, I have spent time discovering the theatre scene and what it means to be a Latina actress in San Diego. I have been proud to participate in productions that talk about current topics, such as the unique situations we encounter at one of the largest US/Mexico border cities; same-sex marriages with children; women rights, and so much more.

I am a successful worker in the corporate legal field; however, everything about theatre humbles me and makes me feel at home.

What interested you about “Revolt”?

I was immediately drawn to the play by its title alone: “Revolt. She said. Revolt Again.” When I saw a production of the play earlier this year, I fell in love with the script. The message that each part of the play delivers; the language, situations, relationships, world and absurdum the play offers resonated with me in different ways. It fascinates me that the range of topics go from realistic to abstract and yet, it’s all relatable and true. What interests me the most about this play is that it opens a conversation about every aspect of what is means to be a woman. I love that Revolt! encourages the players to use their creative tools to provoke its audience to feel, think and want to Revolt!

How are you preparing for this production? Tell us about your rehearsal process...

The rehearsal process has been two-fold: a balance between the rationalization of each scene and an intuitive approach of the topics we are exploring.

We have spent lots of time talking and sharing our ideas and experiences; and, the rest of the time, we have been sharing the space with each other, be it just breathing, playing with the script and/or filling the space with our voice and body.

Kym has created a very communal environment which envelopes trust and respect amongst the cast members. This has allowed us, the actors, to feel safe to express our most intimate part of ourselves, all the while, accessing our creative sides to complete the work that goes into bringing to life the challenges we are presented.

This is a particularly difficult script to work on, as it requires the actors to access and express complex topics, thoughts and situations which create conflict with our ideals and the compromises we make in our lives. This is why it is imperative that we allow ourselves to play, explore, discover and MISBEHAVE!

What do you hope our audiences take away from the show?

I would love to make the audience feel uncomfortable, understood and inspired to revolt. I aspire to channel a voice for our audience and inspire them to use that voice and make it their own to continue the never-ending fight for acceptance and equality.

Photo Credit Daren Scott

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REVOLT Cast Interview with Salvador Velasco:

Salvador Velasco was last seen on the InnerMission stage as Buck in Delia Knight's, “Disappearing Act”. Salvador's memorable roles include Brash Young Man in Bustop (Gao Xingjian), Vinni Bavasi in Proposals, Skank in In Arabia We'd All Be Kings, Tets Hirasaki in Dear Miss Breed and Geraldo Munos in A Certain Unsoundness of Mind.    

What interested you about “Revolt”?

I wanted to do “Revolt. She Said…” because it's hard. Reading through the script alone, my brain really wasn't sure of too many things. I believe in charting those places where I'm vulnerable, insecure & challenged. This is not a silent piece. It’s right in your face. I am a feminist. You are a feminist. If you think you're not, you are in denial. The future isn't female, the present is female. The future is equality.

How are you preparing for this production? Tell us about your rehearsal process...

I'm using my life experiences as preparation for this play. I went to the Philippines 2013 after 25 yrs. In my family's hometown, I heard a last name that I had never heard before. I asked what it meant or its translation. My mom said, "It means newly raped." I was disturbed. When I got stateside, I told this to my elder cousin. He laughed with creases in his eyes. I have family members that are products of rape, colonial and literal.

I once gave my then 6 yr. old niece a small bag of $1 coins. It had Sacajawea on one side. Upon seeing this, she GASPED, her eyes widened, said in such excitement, "There's a girl on it!!" She had never seen such imagery.

The subject matter requires very mindful self-care. I am finding that my solitary rehearsals after rehearsing with the ensemble is where I really start to unravel the content and where/who I am in it. This isn't art imitating life, or reversed, it's life and art together. It's everyone getting in touch with their voice.

What do you hope our audiences take away from the show?

Most everyone I know has more daughters than sons, or just 2 daughters, or it's 1 of each. I hope the audience will realize they are feminists or be reinforced by it.

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Claudette last performed with IMP in Taming of the Shrew. She has also performed with Playwrights Project, OB Playhouse, Coronado Playhouse, SD Fringe Festival, and others. She is a graduate of the Meisner/Chekhov Integrated Training Studio in North Park, and is a producer for MaArte Theatre Collective, a local group dedicated to Filipino-American storytelling. Tell us about yourself… My name is Claudette Santiago. Born and raised in Southeast San Diego, CA Acting locally since I graduated college eight years ago. This is the second production I've done with InnerMission Productions. My hobbies include sleeping and dreaming. It's kind of my life's mission to figure out what it means to be kind to others, but especially to myself. What interested you about “Revolt”? I read the first scene of Act One and thought, "Oooh- I wonder what it would take, emotionally and physically, to serve this writing well. This seems scary and messy and I want to see this on-stage." And I haven't thought about a play like that, that I've read, in a very long time. How are you preparing for this production? Tell us about your rehearsal process... Lots of daydreaming. Hydration. Acknowledging every feeling (or lack of feeling) in my process of working on each scene. Watching British comedians be funny on British panel shows. Cheese. Dessert crepes. Sleep. Other actor-y work that is boring to talk about but makes moments on-stage feel like magic. Respecting and giving love to my scene partners and creators. Being thankful. What do you hope our audiences take away from the show? Hmm. Good question. I'll say this much: as a frequent theatre-goer, the audience members that I hate being among the most are those who are not there to invest in the storytelling, but instead come with the sole purpose of waiting to be impressed. So I guess, what I hope audiences take away from the show doesn't matter to me as much as that they come with an openness to what we have to share with them. What we share might be a bit scary, and hilarious, and heartbreaking, and kooky, and thought-provoking, to say the least. And I hope audiences come in understanding that and decide to go FULL-THROTTLE, ALL-IN this crazybeautifulstorytelling ride with us. Or, maybe not even ALL-in. At least, SOME-in.

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Charly Montgomery is thrilled to be making her InnerMission debut with such a topical play. She was last seen as Cherie in Bus Stop at Grossmont College, where she spent the last 2 years studying theatre. She’d like to thank her friends & family for their continuous support, as well as Kym for giving her this opportunity.

1. Tell us about yourself…

I’m 21 years old, & recently had been studying theatre at Grossmont College. This is my first show outside of a school setting & I am so excited for this journey. I’m a San Diego native, but I hope to explore theatre opportunities in other parts of the country soon. Some of my favorite things include: Mac & Cheese, rain, learning about space, & jokes.

2. What interested you about “Revolt”?

What interested me in “Revolt” was the unapologetic honesty of the show. These vignettes are all incredibly topical & raw. Alice Birch creates a play out of all the things that we’re all too afraid to say aloud. These scenarios are the result of what happens when people speak their truth. The line between actor & character is very thin at points; which really cultivates a deeper connection to not only the show itself, but more importantly the audience.

3. How are you preparing for this production? Tell us about your rehearsal process...

Rehearsal is definitely my favorite part of the day. This show can be emotionally taxing, so taking time to simply breathe & listen to my body has helped a lot with staying focused on what I need to accomplish in each rehearsal. Especially since this show is so ensemble oriented, taking time to connect with the other cast members every rehearsal is integral.

4. What do you hope our audiences take away from the show?

I hope that overall audiences take away a heightened sense of empathy, as well as a spark of enthusiasm to contribute love & kindness into the world. I think this show will hopefully inspire people to speak out & take more action when it comes to doing what’s right. I truly believe this show will help strengthen the human connection.

Photo Credit: Daren Scott https://www.darenscottphoto.com/