nytheatre.com q&a preview by Robert Ross Parker
March 18, 2013
What is your job on this show?
What is your show about?
Two teenage fan grrrls quest through nine levels of the ultimate anime and cosplay convention in search of redemption.
What type of theater do you like most to work on?
I love the opposite of kitchen sinkers. Impossible plays with car crashes, explosions, and robots form the fifth dimension. I love fearless playwrights who write about characters not just trying to save themselves, but save the world too. I think BIG stories can save theatre, we just need more people with the guts and vision to write and produce them.
Complete this sentence: My show is the only one opening in NYC this winter that...?
features wizard/elf star-crossed love, a minotaur who needs bus fare, Dante's Fire Devil Cats, and more - all supported by a big, honest, emotionally raw, beating heart.
Why did you want to write/direct/produce/act in/work on this show?
Nobody writes like Crystal Skillman. Seriously. She has cooked up this incredible cocktail of wild fantasy mixed with a deeply personal story and that's the kind of magic combo we love at Vampire Cowboys. She is totally punk rock but honest and vulnerable at the same time, and that is a serious feat of artistic wizardry.
Groucho, Chico, Harpo, or Zeppo?
Random. . .but I just read Zeppo's wikipedia entry. It seems he was also an accomplished engineer? Who knew? And who ever picks Zeppo?
How important is diversity to you in the theater you see/make?
As theatre fights to remain relevant (and I believe it is fighting, the NEA reports that non-musical ticket sales drop year after year) I think one of the most important things we can do is to embrace diversity on stage. Unless the makeup of the stages in this city looks like the makeup of the subway cars in this city, how can we hope to be relevant to all the people on the subway cars. And then who are we making art for?