This production tells the story of Persephone who is 29, unemployed, broke, and trying to figure out what to do next. She's living with her mother, who's driving her crazy. Enter Hades - the attractive bad boy who might just offer the escape she needs. The question is - what is Persephone willing to give up for her freedom?
We reached out to Gabrielle about creating this play and what working on this production has been like for her.
1. What drew you to this play and to telling this particular modernized version of the Persephone myth?
I felt that the myth, the typical and traditional telling, is flat and one dimensional: "Maiden wanders from home picking flowers; the ground opens up, she is abducted by Hades, Lord of the Underworld; her mother, Demeter, goddess of the earth and vegetation, grieves her absence and longs for her return; mother searches for daughter but to no avail; maiden accidentally(?) eats a few seeds; now she must stay in the underworld for a period of time-- and her absence (from her mother) explains the seasons."
Everything about this is so *passive*-- Persephone is like a leaf floating along the current of these fated events. Everything is happening *to* her. This (flat) telling of the myth feels like *something is missing*, it feels like the whole story has not been told. I am drawn to stories that feel incomplete, that want to be made complete through deep contemplation and imagination.
What if Persephone *drives* this story? What if she is at the center of the myth and not the periphery? What if she has agency, intuition, and some gall? What if this is an archetypal story of individuation that many young, contemporary women undergo as well?
I wrote this play when I was 30 years old, during my final year of grad school in Boulder, CO.
Myths have remained for a reason. I consider it my "job" as a playwright and storyteller to breathe new life into old tales, or rather, listen, gently divine, and dust off what might be the original seeds of humanity, of shared, resonant story.
2. Do you relate to your characters? How similar / different are you?
I relate quite a bit to Persephone, but I also deeply relate to Demeter too. Maybe, perhaps more on point, is that I relate deeply to the archetypal mother-daughter relationship, you know the one of separation and return-- but now both can engage as whole and complete characters, beings.
At this moment in time though, I think if I had to choose a character I wanted to spend time with, a character I need a little more of in my life, it would be hands down Hecate. Give me a little levity! Stir the pot that is my life, great goddess! When life gets serious, call in the great trickster and wise crone. Grandma, I miss you.
Note: My deceased grandmother was nothing like Hecate. I do; however, miss the ancestors. There needs to be more places for the crones and wise women, the outrageous ones, the pot-stirrers, and catalyzers. Let's invite the Hecate's to our table a little more frequently.
3. What's your favorite line in your show? Why?
That's a good and tough question. Let's see, what did I write? Often when I write it just comes through me, and when I reread the play, there are lines that make my heart sing, yes, but it's so hard to choose.
I'd open it up to folks who have seen the play to write *their* "favorite" line here in the comments. What line has stayed with you, dear audience member? What line do you remember the next day, the next week, that you think you might remember even in a year?
4. Who is your favorite mythological character in this play and why? (Demeter, Hades, Hecate, Persephone)
I gave a nod to Hecate earlier.
5. If you had to choose between living in the Upperworld and Underworld, what would you choose and why?
Like Persephone, I'd probably find a way to have "the best of both worlds," and orchestrate time in both the Upper and Under world. Each world offers necessary qualities for the health and harmony of the individual. The upperworld, the land of light and consciousness, realizes our spirit; the underworld, the land of darkness and gestation cultivates our soul. We need both, I need both.
6. Do you believe that life is guided by fate (a series of events that happen to you) or free will (a series of events that you have a part in creating)?
I think we are co-creators with our destiny.
7. How did you get into theatre?
Theatre got into me! Paths, callings, choose us. A quote by modern dance pioneer Martha Graham: "The artist. . . never chooses [her] fate. [S]he is chosen, and anointed, and caught."
8. How is working with The Magnetic different from working with other theatres?
Magnetic is SO collaborative. This whole process has been a playwright's dream. It's been incredible working with director Jess Johnson. After the first reading by the stellar company of actors, I realized there were areas of the play that wanted attention: I wanted to deepen the two key relationships: Persephone-Demeter and Persephone-Hades, which in turn would give greater dimensionality to the characters. I wanted Hecate to return a third time and have an instrumental role in Persephone's decision. In the previous version, Persephone's decision came about too quickly; both Jess and I wanted Persephone to journey towards her decision, to grapple a little more.
Sometimes a play can be "workshopped to death"; sometimes a playwright loses her creative control and her voice. My experience with Magnetic was the complete opposite. In working with Jess I was invited to write and revise in the way I felt that the play needed; and Jess was instrumental as a sounding board, helping me determine *how* to successfully realize the changes. During the pivotal week of writing and revising Jess shared key prompts and perspectives; we had a wonderfully inspiring text exchange, which I'm sharing below:
Gabrielle to Jess 6/8 1pm
I’ve revised the scene where Persephone makes her decision. It now involves Hecate too. That moment to the ending feels stronger and more aligned. I’m now turning my attention to the opening scene to establish mother-daughter connection and likeability. I’m noticing, for me, it’s harder to get inside this place. Feel free to give me a prompt, or a word launch, or an equation. :) Letting you know I’ll be sending the newest version of the play with these two revised scenes to you by 4pm today.
Jess to Gabrielle 6/8 1:03pm
Hmm... for me, that opening scene… mother + daughter doing something together and would begin to fragment / deteriorate but not fully shatter before Persephone leaves. Mother + daughter cooking together, Mother makes nitpick comment on Daughter’s choice / where she is in life / etc, Daughter gets a little upset, Mother attempts to rebuild where they just were (getting along) with some sort of “peace offering” that isn’t really a full apology… so there’s love but also some tension and when Persephone leaves, you know she doesn’t hate her mother and she’s not being “bratty” but also needs some space and wants to be her own person.
[Gabrielle rewrites the opening scene inspired by Jess' thoughts. Gabrielle sends the new scene to her a few hours later. Jess reads it and replies.]
Jess to Gabrielle 6/8 4:03pm
What you’ve managed to create in the first scene really, truly expresses what I was thinking and I… easily identify with these two. And I like them more. And I love Hecate and the audience interaction and that sort of “call out” from what’s going on.
I can’t wait to hear Heather and Katie read these new pages tonight and then we’ll send over some feedback just so you know how it goes! We’re focusing on their scenes and just some character work / development tonight so this is a great opportunity for them to connect / build a stronger relationship and really infuse themselves with their characters.
This kind of playwright-director collaborative relationship is such a blessing.
9. If you were going out to a local bar on a Monday night, which bar would it be, and what would you be drinking?
Ooooh! Fun question! I so rarely go to bars, but it’s really fun when the place is a gastropub or is swanky, metropolitan. This will be my first time visiting Asheville; I'd love a local recommendation!
Usually, I enjoy ciders or stouts. I do like mojitos too, and white Russians. Also an old-fashioned. But the number of times I've had a mojito, white Russian, or old-fashioned in a year, naye, in my lifetime? Maybe seven. I'm not a big drinker or bar fly. I'd rather be invited to an ecstatic dance party. Or bonfire. Know of any?
10. Do you have any upcoming projects that we should check out?
I'm about to open an art gallery! Check it out: kindredartgallery.com
Thanks so much! It’s been a pleasure.
Biography
Gabrielle Orcha is a playwright, performer, choreographer, and arts entrepreneur. Her plays have won regional and national recognition including a performance at the Kennedy Center. She founded and led a dance theater company for ten years, choreographing performances for off-Broadway, regional theaters, and a national tour. She is a graduate of Boston University’s BFA Theater Arts program as well as Naropa University’s MFA Theatre: Contemporary Performance program. Based in Boston, Gabrielle is currently launching Kindred Art Gallery (kindredartgallery.com) to celebrate the work of underrepresented visual artists. Gabrielle can be found in the theater lobby on Thursday 7/15, Friday 7/16, and Saturday 7/17 evenings; feel free to introduce yourself and share your experience of the play. To connect further with Gabrielle go to gabrielleorcha.com.
Kore runs July 9th - 24th. Grab your tickets here: https://app.arts-people.com/index.php?show=124802
AND be sure to join Gabrielle for our playwright's toast on Saturday, July 17th. There will be champagne and a short talk from Gabrielle.