Honest Accomplice Theatre tells stories that are rarely brought to light: those that are silenced, pushed aside, or deemed too “fringe” for mainstream theater. Working with an ensemble of artists, the company works to bring these topics into the light; to create dialogue about the things we don’t see onstage when it comes to the lives of female-identified and trans people.
ReconFIGUREd, the company’s latest piece, is a heart-warming devised work about the experience of living in our bodies, and how it feels to inhabit the female and trans identity. We spoke with members of the cast about their process, their characters, and why theater matters.
Helen Schultz: How did you get involved with HAT/ReconFIGUREd?
Seth Day (He/Him/His): It’s actually a funny story! Although I had some theater experience growing up, I’m not an actor by trade. I wasn’t actively searching for acting gigs, but I’m a member of this Facebook group that is a forum to share queer-friendly employment opportunities, and I saw the casting call for ReconFIGUREd and thought, “Why not!?” To be honest, I almost chickened out of the audition, but the project seemed so important to me. The subject matter of the show is what really piqued my interest. It was the first time I had seen a casting call that was genuinely interested in the trans experience.
HS: Tell me about your character and creative/design role.
SD: I’m one of the two actors playing Luke, a trans guy in the first year of his transition, who struggles with feeling the need to perform toxic masculinity in order to be seen as male. He also has some family drama going on and has to balance that with dealing with his masculinity issues. It’s very exciting for me as a transperson to get to play a trans character, and to put a story on stage that feels more authentic than other trans representations in the media.
I’m also the prop designer, which was a first for me and a fun challenge! I really tried to give attention to detail to each and every prop in a way that each prop adds something to the story.
HS: Why do you think theater is such a powerful medium for telling this kind of story and to help change people’s minds and erase some of the stigmas associated with current identity/body politics?
SD: Generally when people see theater it’s for enjoyment, so I think when we go see a show, we let our guard down. If I were to walk up to someone and try to engage in a conversation about the body or gender or any sensitive topic, I think they’d probably be a little guarded. But when we let our guard down and are open, theater can really change us.
HS: Tell me about one of the scenes in the play.
SD: There is a power ballad sung from the last remaining estrogen in a menopausal body. What more do you need?
HS: Tell me about a moment in the development process that surprised or stuck out to you.
SD: At the beginning of each devising session, we would go around and introduce our name and pronouns (as these are things that can change!). And one session, one of the ensemble members asked us to use a pronoun I had never even heard of before, which was a really humbling moment for me. Sometimes I think just because I’m trans, I know all there is to know about gender, but that was a great reminder that we all have room to grow and learn!
HS: What is one thing you hope people take away from this piece?
SD: I suppose I don’t really care what people take away from the show as long as they’re still thinking after it’s over. My hope is that the show starts a conversation!
HS: What makes this show unique?
SD: I think one of the most unique aspects of this show is its honesty. That and the fact that about a third of the cast is trans! Which is just amazing.
Helen Schultz: How did you get involved with ReconFIGUREd?
Jo’Lisa Jones (She/Her/Hers): I saw a posting to audition for the devising portion, not realizing that a friend of mine had actually worked for HAT previously and gave them glowing reviews, so I knew I should go for it! The reason I first wanted to get involved was because I feel like seldom do women and trans folk have an opportunity to truly discuss and express what our bodies go through. I also wanted to share and relate my experiences with other people so that others feel comfortable to speak up and so that I could find some camaraderie.
HS: Tell me about your character.
JJ: My character’s name is Fiona, and she works in a women’s health clinic that also performs abortions. Despite having fertility issues, she gets pregnant, only to suffer a miscarriage. This character is loosely related to a short movement piece that I created about having an invisible illness, as I have PCOS [Polycystic Ovary Syndrome] and can potentially have fertility issues, so this character is very near and dear to my heart.
HS: Why do you think theater is such a powerful medium for telling this kind of story? How does it help change people’s minds and erase some of the stigmas associated with current identity/body politics?
JJ: I think it’s a fun way to be educated. You are moved by the characters and gain new perspectives on what others may be going through. People want to have fun, and I think ReconFIGUREd is a really fun show that has a beautifully crafted undercurrent of truth telling and insight – and other times we just let it all hang out because that’s appropriate too!
HS: Tell me about a moment in the development process that surprised or stuck out to you.
JJ: I think the strongest moment in the development process that stuck out was the day we were embodying mental illness and addictions. It was truly enlightening to me. I have been very fortunate to not suffer from either and, although I may logically understand both, I don’t always physically or emotionally understand what’s happening. It finally clicked that day because, rather than having a verbal scene, I got to see how it wears on the body, and that really struck a cord with me.
Helen Schultz: How did you get involved with HAT/ReconFIGUREd?
Jordan Ho (Xe/Xem/Xyr or She/Her/Hers): I started working with HAT in 2015 for the Tank run of The Birds and the Bees: Unabridged and I have been with them ever since. I stayed because this company is like home to me.
HS: Tell me about your character.
JH: I devised the role of Melanie in the show with castmate Holly Samson. There are many facets to Melanie: having a trans brother and a mother who works in an abortion clinic, on top of figuring out her race, ethnic identity, and coping with mental illness. It’s been a joy getting to create Melanie, and I hope anyone else who is suffering can find comfort in her arc.
HS: Why do you think theater is such a powerful medium for telling this kind of story? How does it help change people’s minds and erase some of the stigmas associated with current identity/body politics?
JH: When talking about the body academically, it’s easy to desensitize ourselves from actually addressing the issues. Not to say that literature and news articles are telling lies, but written word automatically makes these concepts abstract and not attached to our physical forms. And even if these concepts do manifest inside our bones, the natural next step is to act, which is why we do theater. I think there will be something powerful about seeing actual bodies tell the stories about how we carry and take care of our vessels.
HS: Tell me about one of the scenes in the play.
JH: There happens to be a musical number called “Gemme Femmes” that is horrifyingly entertaining. I grew up watching shows like Sailor Moon, The Winx Club, and Mew Mew Power, so I have a strong affinity to girl-power television. That being said, it is so, so interesting looking back and seeing just the opening intros and seeing these shallow molds of femininity veiled under the guise of being a cute television show for kids.
HS: Tell me about a moment in the development process that surprised or stuck out to you.
JH: Honestly, I was most surprised when we learned our character tracks and who was paired with whom. I’m a trans gender fluid actrex, so I just assumed that I would be assigned a trans character. But when I heard that I would be working with Holly to devise the role of a cisgender woman, I was really struck for a moment. And then I had a creative epiphany: because if Hollywood is so dead set on allowing cis people to play trans characters, then why can’t a trans person play a cis character? I will never forget this moment because it gave me such clarity that trans artists are capable of anything. Creating this role has helped me reclaim my femininity, and I’m so glad that Maggie, Rachel, and Holly have trusted me in this creation process.
Helen Schultz: How did you get involved with HAT/ReconFIGUREd?
Simona Berman (She/Her/Hers): I came on board this year for ReconFIGUREd and am outrageously happy to now be in the company.
HS: Why do you think theater is such a powerful medium for telling this kind of story? How does it help change people’s minds and erase some of the stigmas associated with current identity/body politics?
When I first read this quote by Nayyirah Waheed, I literally took a deep breath as I was reading, unconsciously wrapped my arms around my body, and started to cry. Or at least dry heave a bit, because I stopped myself from crying long ago when I was bullied growing up and didn’t want to give the bullies anymore fodder for their fire. Much of that bullying was a catalyst in my long continuous battle with my body. Along with a few eating disorders, I also struggle with body dysmorphia: where I look in the mirror and see my arm and where the large muscle from doing gymnastics meets my large breast it triggers my brain to see my body as one big armbreast – much bigger than it actually is.
That quote by Nayyirah took me out of my head and separated me from my body and gave my body its own persona, arousing empathy in me for my body. As a self-hating Empath, it is easier for me to be moved to action by others, not so much for myself. I suddenly saw my body as a scared little girl, who opened her arms wide and said, “Please love me, I beg of you!” The quote made me want to take care of that little girl that is my body. This was easier for me to process as opposed to trying to just love me for me.
That’s what theater does for certain issues, such as the ones we tackle in ReconFIGUREd. Theater takes an issue and initiates awareness for someone to be able to see outside of themselves. For an audience, if they connect deeply to the story as if it was theirs personally, theater allows for aesthetic distance where the story becomes a safe friend that might help someone feel less alone or less awkward. It also opens up whole new worlds for people who can’t relate at all to the story personally, but being able to see, hear, feel the story played out can now evoke empathy for the characters. Or at least a better understanding, as opposed to just hearing about it or reading about it in a random story.
Helen Schultz: How did you get involved with HAT/ReconFIGUREd?
Holly Sansom (She/Her/Hers): I started working with Maggie and Rachel before the Honest Accomplice Theatre company was created, back in 2012. I was an original ensemble member and deviser for the show The Birds and the Bees: Unabridged. When HAT was formed in 2014, I came on as the General Manager as well.
HS: Tell me about your character.
Holly: I share the role of Melanie with Mx. Jordan Ho. Melanie is a cis woman thinking about her identity as a biracial person in America. She is also dealing with mental illness and how these aspects of her body affect her relationship with the world and the people in her life.
Helen Schultz: How and when did you get involved with HAT/ReconFIGUREd?
Jesse Geguzis (Squee/Squer/Squem): I had auditioned for the previous project and then I was asked to be a part of this project about a year ago.
HS: Tell me about your character.
JG: Luke is a young trans guy in college and struggling to be comfortable in his new body with old friends and family of origin.
HS: Why do you think theater is such a powerful medium for telling this kind of story? How does it help change people’s minds and erase some of the stigmas associated with current identity/body politics?
JG: I think theater can change the world. Everyone involved in this project is throwing their energy at creating change. I think visual mediums are the strongest vehicle to get into folks’ heads and leave them starting to change their thinking. It plants a seed. This company is gardening a new world by telling new non-heteronormative narratives.
HS: Tell me about one of the scenes in the play.
JG: My favorite scene is with my character, Luke, and his sister Melanie, fighting and trying to find common ground around identity struggles. The whole scene takes place with both characters wearing the same giant shirt, as a punishment for fighting by their mother.
HS: What is one thing you hope people take away from this piece?
JG: I hope people leave thinking about how to open up their minds more and more every day.
HS: What makes this show unique?
JG: It’s a company of only female and trans-identified folks.
Helen Schultz: How and when did you get involved with HAT/ ReconFIGUREd?
Kat Swanson (She/Her/Hers): I was lucky enough to be involved with HAT early through some of the first Birds and the Bees workshops, which I heard about through Rachel while working with her on another project. I remember being so struck by the questions being asked and by the process. I tried to be involved in whatever way I could from there. I helped out a bit with general support on one of the Birds and the Bees productions, and finally had the chance to be involved from the beginning of this project.
HS: Tell me about your character.
KS: My character is a struggling single mother named Donna. She has an eight-year-old daughter named Ari – short for Ariel – who she’s supporting on her own (the father has been out of the picture for some time now), which creates a lot of financial hardships. She also grapples with lack of self-love, binge eating disorder (BED), and back pain, partially caused by having larger breasts. Donna suffers from the classic single-parent time versus money dilemma: how can she be a good mother to Ari when all she has time to focus on is the next step, the next place to be, the next bill to pay? She’s in survival mode and is realizing the negative impact on her growing daughter.
HS: Why do you think theater is such a powerful medium for telling this kind of story and to help change people’s minds and erase some of the stigmas associated with current identity/body politics?
KS: I really think that seeing is believing and feeling is understanding. People who aren’t trans or women or disabled and so on don’t really know what gaps exist in their understanding. When you don’t live it, you just don’t know. You can read an article or catch on to all the political and social media buzzwords and think you know something, but you just don’t. People are often afraid to admit, even to themselves, that they don’t understand.
Theater is such a unique art form in how it is able to combine all the other art forms to create a true, visceral experience. It is able to make the audience see and feel and have at least the opportunity to start to know. By attending and really opening yourself up to a play that portrays an experience that is not your own, you get a chance to empathize with other people. That empathy, especially when it occurs on a large scale, is – I think – what really has the power to make a difference in people and society as a whole.
HS: Tell me about one of the scenes in the play.
KS: Ooph – tough question! There are so many excellent ones. My favorite scene is one that portrays caretaking for a character whose mobility has been severely impacted by her battle with cancer. It’s really loaded – the daughter is getting ready herself and is helping her mother get ready for the day at the same time. The scene is great because the dialogue is very normal but also tells so much in so little. I think it’s something a lot of families can relate to, [regardless of the] situation they’re in. It hit a chord with me because my mom has been wheelchair-bound her entire life, but growing up, I realized that no one really understood what that meant for her day-to-day life. They had this general, blind pity and were usually kind – all good things – but they had no idea what it took for her just to get out of bed, to use the bathroom, things that able-bodied folk, myself included, often take for granted. I cried when I saw it because it just hit home so hard. I hope it makes able-bodied folks happy to be in their bodies to some degree, and also helps people who are in a similar position as this character for whatever reason feel more understood and represented onstage.
HS: Tell me about a moment in the development process that surprised you or stuck out to you.
KS: I didn’t realize how tough the development process could be. For a while, I thought I was the only one who was in rehearsal feeling as though I didn’t belong there, like I didn’t have anything to contribute. To Maggie and Rachel’s credit, things kept moving forward because they heard these concerns from several folks in the room and implemented things like a “question box”. [The idea of the box is] to try and help the cast understand each other better, and also understand what they each brought to the room – all while taking the “educator” responsibility on themselves. [Because of that], folks who are often put into that position involuntarily in their day-to-day lives didn’t have to take that role on here. It became such a safe space to discuss really challenging issues with lots of differing viewpoints. While it was tough, the end result and the value of realizing that kind of space is possible was immeasurable to me.
As for a specific moment… picking one, I guess I was really surprised to realize that a lot of people don’t view their periods as a negative thing. For some it’s culturally celebrated, for others it’s empowering and magical – it opened my mind because for me, my period had just always been a monthly “Congrats, you’re not pregnant!” notification and a frustrating, painful, messy pain-in-the-ass. It’s hard to explain, but it was a really memorable rehearsal.
HS: What is one thing you hope people take away from this piece?
KS: I hope people take away a new appreciation for the complexity of a person’s agency over their body, as well as the wide variety of experiences that are different from their own. I hope they see and appreciate something new, and I hope they ask questions and start talking about things they’ve been silent about before.
HS: What makes this show unique?
KS: It’s people and it’s honesty.
ReconFIGUREd is playing at The Tank on January 6 to January 15, 2017. Tickets can be purchased at http://thetanknyc.org. For $10 tickets, use code HATBODY.
