I will take any opportunity to keep Mae West‘s memory alive here on THM - I’ve worshiped her since I was a child.  Not just a film actress, West was a pioneer of the stage who didn’t wait around for parts to be written for her.  Nor did she shy away from the subject matter that interested her most – sex.  So it just stands to reason that she would write a vehicle for herself which she could star in – and title it bluntly.

Almost a century later, I’m absolutely ecstatic that The Dirty Blondes will present a staged reading of Mae West’s infamous stage play, SEX, for a limited engagement September 29-October 2 at UNDER St. Marks, directed by Courtney Laine Self.  Written by West almost 90 years ago, SEX is about a sharp-witted prostitute from Montreal’s Red Light District looking for true love.  It was initially shut down in 1927 during its Broadway run, and West was jailed for “lewdness and corrupting the youth.”

I got to chat with Ashley Jacobson, the Artistic Director of The Dirty Blondes, who took a minute out of her hectic schedule to talk about sex, SEX, how some things never change – and how the things that DO change are not always what you think.

It is SO GREAT to see someone take this great play out of the trunk, dust it off, and give it a good shine. I’ve been a Mae West fan since the age of 8, so literally grew up knowing about Mae West, her work and her mission. But why don’t you go ahead and tell us a little bit about how you came to know about SEX and what made it seem like the perfect script to do as a staged reading?

Ashley Jacobson: I always grew up knowing about Mae West as well, but mostly just about her stardom/Hollywood Fame. I came across her book of plays on Amazon one day when I was looking for plays by women, and was so confused! I had no idea she had been a playwright, let alone one that was produced on Broadway. Then I just fell down the research rabbit hole and became more and more impressed by her and excited by the play’s history. She was the patron saint bad-ass we have been looking for! As a company with the name “Dirty Blondes” we are clearly interested in playing off people’s perceptions of femininity and sexuality and challenging these notions with surprising theater. Mae West literally embodies everything we think about ourselves as a company, so it seemed like the perfect thing to explore.

We also wanted to do it as a reading because we wanted it to be presented as a conversation starter, rather than a perfectly polished piece. There is a lot of meat in her play and a LOT to talk about – in terms of the play itself and what Mae West meant by all of it. There are also some problematic elements, including the way race is discussed in the play. So we wanted to present it and make sure we had the opportunity to provide the context and conversation around it. A reading seemed like the best way to accomplish all that.

There’s a lot that’s changed in the 90 years since SEX was seen by its original audience. Obviously what was considered shocking and scandalous back then is almost yawn-inducing now. Does this script hold up? And in the parts where it may not, are you playing it straight, or giving a bit of a wink-and-nod to the audience?

Ashley: The script holds up! Not just for its salaciousness, but Mae wrote some really interesting characters in her play and good characters will always hold up. The story itself, about redemption and about this woman finding her way to a new life, is a timeless story. We’re playing the script straight, letting it speak for itself but also being completely conscious of things that might be considered problematic NOW. The play still needs a “trigger warning” – and not for the same reasons it was considered problematic 90 years ago. There is a lot of talk of violence against women, some racist language – these things were considered fine then, but they certainly aren’t now. Mae West captured a moment in time with this play, and showed us how it was for women in the 20s. We’re interested in exploring that much more than the raunchiness of the story – which, you’re right, isn’t anything to bat an eye at now.

Mae West was a pioneer – a feminist long before the feminist movement. If she was around today, what updates do you think she’d be making to her work in general? And more directly – how different would SEX be if she were to write it in 2016?

Ashley: Wow! What a question! You can see that Mae West progressed as a feminist even in her own life. By the time she reached Hollywood she was one of the biggest advocates for including people of color in her films, and when she was on Broadway she insisted on casting gay & lesbian actors, even though they weren’t allowed in the union. I don’t know if I can speculate on the type of artist she would be now – although I’m sure she would be basking, enjoying the fearlessness of some fellow female performers in the comedy and TV arena – but I honestly don’t know if SEX would be all that different. I would hope it would have a better take on race relations now, but I think it would still focus on how women are continuously reduced to the lowest common denominator. I think it would still talk about the struggle to find empowerment in female sexuality, while avoiding being defined by it. Violence against women is still a serious issue, human trafficking and unfair treatment of sex workers are all important issues now and she sheds some serious light on them in her play.

The Dirty Blondes embody so much of what Mae West was herself – a feisty, strong female doing it all – creatively – herself. Talk to me about what it would be like if you could bring her back and have her come see your staged reading. Do you think she’d be honored? Pleased? Or a little threatened even?

Ashley: Oh God, that would be incredible. (Also thank you for the very nice description!). I would hope she would be honored and excited for us. I would hope that she would see how she paved the way for us to be more fearless and unapologetic – to create the theater that we aren’t seeing anywhere else. She might be a little overwhelmed by how much we intend to dissect the work in our talkbacks but I hope she would see that we are doing that because we believe that she had so much to offer; that her play, although it was widely panned by critics during its time, is actually a full and fruitful story with so much to say about being a woman then AND now. I think Mae West, were she alive today, would be a huge proponent of sisterhood and supporting women artists. There is room for all of us, and I believe that Mae West believes that. She wrote roles for herself and then cast as many people as humanly possible in her plays – she was an artists’ artist.

Finally – staged readings are fantastic. I’ve seen some where you forget you’re not watching an actual play. However, there’s always hope for bigger and better, right? In which case I’m wondering – does The Dirty Blondes have any hopes of doing a full-out production of SEX if this reading goes well?

Ashley: I guess we’ll have to see, but I think the fact that its a reading is a really big part of what we’re doing. We have scheduled some incredible talkbacks with current and retired Sex Workers, Feminist Burlesque Dancers, and an incredible Mae West historian. We really wanted to place the play at the center of a larger conversation – and sometimes you can’t do that in a full production. So presenting the piece as kind of a work-in-progress is important to us. But who knows, if we get the lightning to hit just right, there could be room for bigger aspirations!

Thanks so much for not only answering these questions, but for bringing this back to the stage. I can’t tell you how excited I am to know that new audiences will be seeing this work – even (if only for now) as just a reading!

Ashley: Thank you for such thought-provoking questions!

~~~

For a little extra fun, I’m going to leave you with some Mae West Drunk History courtesy of The Dirty Blondes themselves. Take it away, gals …

Mae West Drunk History from The Dirty Blondes on Vimeo.

~~~

FRIGID NEW YORK @ HORSE TRADE
IN ASSOCIATION WITH
THE DIRTY BLONDES

PRESENT

MAE WEST’S SEX
directed by Courtney Laine Self

September 29-October 2

UNDER St. Marks
94 St. Marks Place
(between 1 st Avenue and Avenue A)
Performances: Thursday through Sunday at 7pm
Tickets: $17
CLICK HERE to purchase

Talkback Schedule:

Kick off the opening night with some bad ass feminist poetry by Maya Osborne and guests, and stay after the show to grab a drink and talk to our amazing cast.

Friday, September 30
Native New Yorker LindaAnn Loschiavo is a journalist, dramatist and Mae West Historian.

Saturday, October 1
Juniper Fleming previously directed, produced, and performed in an all sex worker revival of SEX, at Dixon Place Theater this past June.

Sunday, October 2
Veronica Varlow is a siren born of the 1940s Fantasy of Pinup Girls and Femme Fatales. Beguiling and beautiful, Varlow weaves a spell upon her audiences like none other.

Related Posts:

• Too Much Of A Good Thing Can Be Wonderful! – Mae West’s Birthday Bash
• Outskirts of Eden: 10 Things To Know About The Show Before You Go (2016 FRIGID NEW YORK FESTIVAL)
• Why So Much Shame?: 10 Things To Know About The Show Before You Go (2016 FRIGID NEW YORK FESTIVAL)
• Basic Help (2014 Frigid New York Festival)
• Tina And Amy: Last Night In Paradise (2014 Frigid New York Festival)

Planet Connections Theatre Festivity is New York City’s premiere eco-friendly theatre festival, connecting artists and audiences with diverse dynamic charitable organizations. The Planet Connections experience entertains, enlightens and informs.

The Happiest Medium (proud sponsors of The Planet Connections Festival) is finally wrapping up our Planet Connections Q&A!  We hope you enjoyed reading all the interesting answers.

Our last post casts the spotlight on two shows which we reviewed here and one show which sounds like a blast (no pun intended) but which we were not able to cover.  Read on to see how Aliza Shane (Playwright/Director) & Laura Hirschberg (Assistant Director/Stage Manager) of ARE YOU THERE ZEUS? IT’S ME, ELECTRA. answered our five questions. Then, keep reading to see what Ashley Jacobson, writer of his beauty had to say. And finally, stick around to see what BJ: A Musical Romp has in store for its audiences . . .

Are You There Zeus?  It’s Me, Electra.

answers by Aliza Shane & Laura Hirschberg

Here’s Antonio’s question -

If you would have to single out a quality between dialogue, plot or character, which one is the strongest in your play/piece, and why?

The dialogue of this show is KEY. It bridges the gap between the classical and the contemporary sensibility of the piece. The play has its own vernacular, which includes Greek references, 1990’s slang, and teenage angst. Each character has his or her own particular way of speaking, whether it’s Clytemnestra the evil Queen, played by a man whose voice ranges from Marilyn Monroe, to Joan Crawford to Harvey Fierstein (depending on her mood) or the Greek Chorus, who swing between classical Greek intonations and their own girly, smarmy, “know-it-all high school clique” vibe.

Here’s Karen’s question -

What has been the most surprising or unexpected thing that’s happened during this play? Did that wind up taking the play in a new direction?

This is a new mounting of this production, and the surprising changes this time around have been with how we’ve cast the women. With an all-female chorus and a man playing Clytemnestra (as a real woman, not just a guy in drag) there are many intriguing layers to the discussion of femininity and “girl power” already present in the text.

Here’s Anne’s question -

What do you think is the central theme and reason this play was conceived?

Really, the play was conceived primarily for fun. It’s a youthful, energetic, self-effacing take on a genre that usually takes itself too seriously- Greek tragedy. A lot of the elements-rage, vengeance, power, angst, responsibility-all feed into the play’s central theme: adolescence, under the ultimate strain.

Here’s Stephen’s Question -

Why should the audience (we) go to your play? What will the audience learn about the “human condition” by going to your play?

You should see our show because it demonstrates the awesome power of early 90’s grunge music and Judy Blume books, which allow us to connect to emotions and experiences buried deep inside all of us, that teenage angst and frustration so many of us had. Suddenly the Electra story could totally be our story. When it really comes down to it, the “human condition” is the same across the board, and even Electra was a teenager once.

Here’s Sarah’s Question -

What is your favorite line from the play?

This is a tough call- it’s a show FULL of great one liners…

Some faves:

Orestes: “Pylades, my sweet companion- how many times do I have to say this? Matricide is an art! And like most art, it must be done with a skilled, practiced hand.”

—————————————————————–

Chorus: “We know ALL! We’re a freaking Greek chorus, in case you haven’t noticed!!”

—————————————————————–

Chorus to Electra: “Dramatic much?”

Electra to Chorus: “Shut up! It’s my damn story and I’ll be as dramatic as I want to be!”

—————————————————————–

Clytemnestra to her husband, King Aeigsthus: “You can’t possibly be this stupid!”

Aegisthus to his Queenly wife: “I think that I am!”

—————————————————————–

Here’s Diánna’s Question -

What about this play do you feel most drawn to personally, and because of that, what message do you hope the audience walks away with?

I’m drawn to the sense of humor. The comedy doesn’t diminish the tragedy of the characters’ circumstances, but it does lighten the load that a story full of fate and duty can lay on its audience. I hope the audience walks away inspired by Electra and her companions. They’re angst ridden, hormonal, silly, and passionate- like many of us can be- and if they get it together (more or less), maybe we can too.

* * *

his beauty

answers by Ashley Jacobson

Here’s Antonio’s question -

If you would have to single out a quality between dialogue, plot or character, which one is the strongest in your play/piece, and why?

This is definitely a character driven piece. Even in rehearsals, when the actors were struggling with the lines – if they could connect to the deeply disturbing people they were playing, the show still went the exact way as planned. The four personalities presented on stage are by far the most interesting things to watch develop and destroy and create and manipulate and etc. ect.

Here’s Karen’s question -

What has been the most surprising or unexpected thing that’s happened during this play? Did that wind up taking the play in a new direction?

The set/light design was something that became a very spontaneous and unexpected element of the show. The set is very detailed and constructed unlike any other in the festival. (In that we literally build the thing from scratch each time the show plays, and use our own florescent lighting). It happened that way because of our visionary, albeit whimsical, set designer. and the aesthetic has added an unforseen allegorical, 1970′s porn element. It’s so visually interesting and layerd. It’s actually going to be featured at an art gallery in Williamsburg after the run at PCTF.

Here’s Anne’s question -

What do you think is the central theme and reason this play was conceived?

physical objectification and fragmentation. this play was conceived as a response, maybe an angry one, to feeling helpless or reduced because of one’s appearance or desirability. feeling trapped by wanting to be wanted, but also resenting, even hating that same desire. the anger of feeling possessed, while simultaneously being turned on by possessiveness.

Here’s Stephen’s Question -

Why should the audience (we) go to your play? What will the audience learn about the “human condition” by going to your play?

if anything, it’s one of the most honest things you’ll see. it says all the dirty mean things you’ve either wanted to say or have had hurled at you in your life. it’s the ugly part of the sex, and we all know what that looks like. it’s redemptive and vindictive, and it punches you in the face. I think it fits that kerouac quote, something like “give them exactly what they want, and they will be secretly terrified”

Here’s Sarah’s Question -

What is your favorite line from the play?

We’ve all been quoting some of our favorites as of late. Mine right now, after tonight’s performance is “I drive him crazy too.” In context, it explains a lot about what the whole show is leading up to. “I haven’t swallowed in 20 minutes” is always a crowd pleaser.

Here’s Diánna’s Question -

What about this play do you feel most drawn to personally, and because of that, what message do you hope the audience walks away with?

As the playwright, I’m drawn to the entire thing personally. It feels like Nadine (the director) has reached down into my guts and spewed my intestine across the stage for the whole world to see. And I’m ok with it, and I guess, in love with it. I want the audience to walk away feeling guilty or angry or redeemed. I want them to acknowledge the persons they’ve just seen on stage, whether they are a pete, or a jaclyn, a carl or cecily, or a combination of all of the characters. I want people to leave the theatre turned on – like the feeling after you’ve just had the best hate-you-but-i’m-not-going-to-walk-away-first sex.

* * *

BJ: A MUSICAL ROMP

answers by Peter Dagger

Here’s Antonio’s question -

If you would have to single out a quality between dialogue, plot or character, which one is the strongest in your play/piece, and why?

As the writer, all three came from the same place, and I couldn’t say that one is stronger than the other. I will say that for the most part, the process starting by me writing song lyrics, and then the plot, characters and dialogue grew out of that.

Here’s Karen’s question -

What has been the most surprising or unexpected thing that’s happened during this play? Did that wind up taking the play in a new direction?

During the very first workshop of “BJ” at Syracuse University, the actors were singing a song called “First Week” (no longer in the show), and the bed they were standing on collapsed on stage. Nobody was hurt, the show went on, and it was fun to watch the actors creatively maneuver around the broken bed for the rest of the show!

Here’s Anne’s question -

What do you think is the central theme and reason this play was conceived?

I wanted write a show about college. Everybody goes to college with certain expectations and fears, and then comes out the other end magically grown up. The show is very loosely based on my freshman year experience, and the people I met.

Here’s Stephen’s Question -

Why should the audience (we) go to your play? What will the audience learn about the “human condition” by going to your play?

BJ” is similar to a Judd Apatow movie, in that it is a continual bombardment of jokes and entertainment, but beneath that there are real characters going on real journeys and learning lessons.

Here’s Sarah’s Question -

What is your favorite line from the play?

“A blow job is just something that you do, when you are with someone who understands you.”

Here’s Diánna’s Question -

What about this play do you feel most drawn to personally, and because of that, what message do you hope the audience walks away with?

I love ‘coming of age’ stories (no pun intended). Blow jobs aside, it is a play about facing your fears in order to grow up.

Related Posts:

• The Electra Complexion: Are You There, Zeus? It’s Me, Electra. (Planet Connections 2010)
• What Happens When “His Beauty” Goes Off On Her Own (Planet Connections 2010)
• The Dirty Blondes Talk About SEX
• It’s A Triple Play For Natalie Menna!
• A Brief History Of Thyme (2012 Planet Connections Festivity)

For the first few minutes of his beauty (written by Ashley Jacobson and directed by Nadine Friedman) it’s almost impossible to understand what’s going on -  all that’s obvious is that a couple is fighting.  Soon enough, however, you realize that that’s pretty much all you need to know.  The fact that they’ve stepped out of a bar (or a party, or a friend’s house) really doesn’t matter.  All that matters is that she’s considered to be, by all around her, a Beauty . . . His Beauty. And he’ll do whatever it takes to keep her in her place by reminding her as often as he can that she belongs to him.  That is, when he’s not telling her to stay away from him because she “smells like slut”.

The couple, Pete (Sean Linehan) and  Cecily (Fabianne Meyer), proceeds to push/pull their way through this kind of dance that’s violent at times . . . vulgar at times . . . funny at times.  Clearly, neither of them are likable, and the fact that they bring out the worst in each other doesn’t mean that they’re much nicer when they’re apart.

In a pure power-move Pete leaves Cecily by the side of the road, still searching for her shoe, as he goes in search of something else.  That “something else” turns up in the form of  Jacalyn (Dondrie Burnham): A don’t-bother-coming-hither-I’ll-come-over-there type gal who is gamely on the prowl while her cop husband is working the night shift.

Cut to . . . cop husband, Carl (James B. Kennedy) working the night shift and just happening upon the lovely Cecily.  These are the kinds of people who are roaming around at 3:0oam.  Of the 4 dysfunctional people Carl is actually the most sympathetic and almost speaks for the audience when – in reaction to why Cecily refuses to blame Pete for abandoning her by the side of the road, in the dark -  shakes his head and says “I don’t get it”.  Which isn’t to say that it’s impossible to understand people who need to hurt each other with the same intensity with which they claim to love each other, it’s just uncomfortable to watch it play out in front of you.

Like a form of flu, Pete and Cecily spread their sick mating ritual to Jacalyn and Carl, insulting and diminishing their evening’s prey in order to romantically prime them.  It works surprisingly well, proving – at least in this small universe – that self hatred and loathing and violence and demeaning language passes for foreplay and phrases like “it’s okay, I don’t want to be here either” is an adequate substitution for sweet nothings.

Throughout his beauty the four principles give everything they’ve got, and with a climax that has you holding your breath they certainly have you invested – even though you can’t quit squeeze out a tear when one of them gets a little too close to the business end of a deadly weapon.

While the play certainly poses a lot of questions, possibly the best answer it delivers is “no”.  As in “no . . . you don’t have to turn into any of these people”.   For those watching who find themselves in relationships that echo what they see, this might be the best wake up call to get out, and get out fast – it will only end badly.  For the rest, this play will show you that every boring night you’re spending on the couch Netflixing another episode of The Office and falling asleep to the news is another night you’re not trying to wipe the residue of yet another grimy relationship like that of Pete and Cecily off the bottom of your shoe.

~~~

his beauty

Produced by Ashley Jacobson benefiting Sanctuary for Families
Written by Ashley Jacobson
Directed by Nadine Friedman

Running time: 90 minutes, no intermission

Venue: The Gene Frankel Theatre, 24 Bond Street

Performance dates:

Sat 6/5 @ 9pm
Mon 6/7 @ 5:15pm
Sat 6/12 @ 3pm
Mon 6/21 @ 7pm
Fri 6/25 @ 7pm
Sat 6/26 @ 3:30pm

Related Posts:

• Planet Connections Q&A: Final Three For The Price Of Two
• The Dirty Blondes Talk About SEX
• It’s A Triple Play For Natalie Menna!
• A Brief History Of Thyme (2012 Planet Connections Festivity)
• THM – Proud Sponsors Of Planet Connections Festivity 2012!