Daniela Haddad: You’ve made the decision to cast a woman in this play instead of a man. Why did you make that decision?
Liz Arday: When I first read this piece I couldn’t really justify it focalised through a male lens. I know the original production utilised a male performer in the solo role, at the time the discussions around objectification of the female body were forefront, so that was an incredibly clever choice. How brilliant to place a man on stage and challenge an audience to objectify him in the same way they objectify women. But in 2018 and in the wake of “Me Too” and “Time’s Up”, reclamation and amplification of the female voice in the discussion around consent is paramount. Young women have begun to reclaim their bodies through platforms like YouTube and Instagram and in doing so have rejected the mainstream media’s damaging narratives, but we still have a way to go in having our voices heard… and believed. Our production therefore is about challenging an audience to believe our voice, our story, over that of a man’s. Which is why I felt it was important to cast a women in the solo role.
How has working with only women in the rehearsal room impacted the creative process for you?
This is wonderfully not the first time I’ve run a female only room. When I directed A Woman Alone in London last year I also closed the room for most of the process allowing only female creatives in. It creates a very safe space that allows for more honest and in-depth discussions around female sexuality, identity and the sharing of personal experience which culminates in a more truthful, brave and defiantly feminist performance. I think it’s a powerful process tactic and has proven to be both super successful and liberating for all involved.
There’s been a wave of female monologues on Sydney stages this year, including A Girl Is A Half-formed Thing at KXT and Lethal Indifference at STC. What do you think the appeal is?
I think “Me Too” has empowered female makers to stand up and tell their stories, and has also given audiences permission to engage with them. I think a female monologue piece is the pinnacle of that empowerment as it demands a raw, honest and virtuoso performance from it’s solo actor, and denies a masculine voice in the space (unless embodied through a female form). It’s the ultimate finger to the theatre establishment and traditions on which our industry is built.
What skills can you take from this project to apply to your Sandra Bates assistant directorship at the Ensemble?
One of the shows I’m working on is Unqualified, which is a female comedy written by and starring Genevieve Hegney and Catherine Moore. It’s Tina Fey level hilarious, and is a brilliant example of a work that scene after scene passes the Blechdel test. I think knowing the value of cultivating a safe feminist space in the rehearsal room and encouraging open discussion will serve well. Also it’s a play that travels to many different spaces and places without elaborate sets to frame it, much like our piece, so I’ll be ready to tackle those challenges!
Why do you think people should come to see this show?
Because it’s absolutely stunning piece of award winning Australian writing by one of our greatest assets, Fleur Kilpatrick. Because it’s articulating the seismic cultural shifts that are happening internationally and here at home. Because you’ll be supporting a team of talented and passionate independent theatre makers getting work up without co-production or funding support. Because it’ll be powerful punch of theatre we promise won’t disappoint!
Liz Arday: What was it about the play that made you want to audition?
Daniela Hadda: The script and these characters drew me in and I was attracted to the idea of how models are inherently actors themselves. I was interested to see how this would play out on the theatre stage. Models also contribute hugely to the definition of ‘beauty’ given their influence in the digital sphere. So, this was a really important opportunity to explore the meaning of beauty for myself on a more personal level. The added challenge of a double role excited me as an actor, because of the opportunities it gave me to stretch my skills to the limit.
Throughout the piece you are often playing two characters (Emmy the model and Peter the photographer) who are often on stage together at the same time. What challenges have you come up against in creating these moments and how have you gone about overcoming them?
I had to find ways to create two distinct characters in voice, movement, body language – two very different people with two very different energies who are conveying a different story through their perspectives. From the beginning, I eased into Peter’s character quite nicely. There was a high level of comfort there with his overall energy, grounded nature and of course being Australian. Emmy, I found to be a bigger challenge as she’s an American model and certainly more reserved and calculated compared to the transparent Peter. She is living this idea of what she’s supposed to be according to the modelling industry. This concept paired with her intricate layers of life experience makes for an interesting story but also for the huge challenge on my end to tell this story in all its truth. There are no costumes changes to indicate the shifts between Emmy and Peter. Although there are different accents involved, the physicality speaks volumes in this piece. However the impact of that is only felt when the transitions are swift and seamless. At times, that really can be tiresome to critique, but the pay off of refined theatre is well worth working towards. Plus, the added fun of having that creative freedom to explore within the space and all of that wonderfully paired with the projections Liz has been working on. A grand gesture of art installation and theatre.
As part of our research we’ve been watching some pretty interesting YouTube videos on how to be an alpha male. Can you share any hot tips?
It’s just hilarious that there are entire YouTube channels dedicated to ‘how to be an alpha male’! They were helpful in giving me some physicality choices to experiment with for Peter. Three of my favourites are: 1) Stand straight. The best way to check your alpha posture is to stand against a wall, heels, calves, bum and shoulders should all touch. Step away from the wall but keep those points projected. 2) Use physical reinforcements, touch the person you’re speaking with at the high points of conversation. 3) Smirk, don’t smile.
Emmy is written as a model, but we’ve been re-framing her a bit as an influencer. How would you describe the difference between the two?
The concept of beauty is becoming increasingly blurred. In the 90’s for example a fashion model was typically someone exceedingly tall with a unique look, usually including sharp cheekbones, paired with a memorable walk or iconic pose or gaze. Nowadays, that particular mould of a fashion model is in decline due to the rising prominence of digital influencers. A digital beauty influencer being someone who produces online content that strays from the traditional ideas of fashion and aims to create something more accessible to their mass following. Today beauty is more than just physicality. It’s definitely got a personality edge to it.
In five words how would you describe this production?
Confronting, honest, hilarious, insightful, relevant.
Liz Arday and Daniela Haddad are presenting Yours The Face, by Fleur Kilpatrick.
Dates: 1 – 12 May, 2018
Venue: Blood Moon Theatre