INTERVIEW: Thanks to NYC’s theatrical community, ‘Racecar’ is still on the road
Photo: Racecar Racecar Racecar stars Julia Greer and Bruce McKenzie. Photo courtesy of Travis Emery Hackett / Provided by Emily Owens PR with permission.
Racecar Racecar Racecar, the new play by Kallan Dana, faced some unexpected speed bumps along the way to its off-Broadway premiere. The show was originally scheduled for the Connelly Theater on the Lower East Side of Manhattan, but when that space, which is owned by the Archdiocese of New York, suspended operations, Dana and the company of actors needed to find a new home. The Hearth, the company producing the work, received help from the theatrical community and eventually landed at the ART/New York Theatres, where Racecar Racecar Racecar continues until Sunday, Dec. 22.
Dana’s piece, directed by Sarah Blush, follows a father and daughter on a transformative road trip across the United States. Starring in the piece are Julia Greer, Bruce McKenzie, Camila Canó-Flaviá, Jessica Frey and Ryan King.
Recently Dana exchanged emails with Hollywood Soapbox to further discuss the change from the Connelly to ART/New York Theatres, and what audience members can expect from the play. Questions and answers have been slightly edited for style.
What was your reaction when you heard the news about the Connelly Theater decision?
It was really sad and surprising. It’s been very disheartening to hear of venue after venue closing in New York, and the Connelly has been one of my favorite spaces. It was obviously very stressful and disappointing for our production, but I feel most upset on behalf of the productions who were censored from renting the venue before the closure, and for the curators who were blocked by the Archdiocese from doing their jobs of curating!
Were you delighted that the theater community came together to save the production?
Yes! Theater people are the best. I felt really supported. Even though I am concerned about the amount of amazing small venues that are closing, I feel very optimistic about the resilience of everyone making theater in New York.
How would you describe the two main characters of Racecar Racecar Racecar?
They’re a father and daughter, and in the play they don’t have names — or their names are just Dad and Daughter. They are both very charismatic and playful and warm, and both have a sort of simmering intensity that spills out. They both think they can talk their way into and out of anything, but their words often betray them.
How were rehearsals, and what’s it like working with director Sarah Blush?
Rehearsals were so much fun, and Sarah is a genius. I feel really lucky. The entire team working on the show really made the show collectively — it was a very collaborative process, and everyone involved taught me something new about how the play works.
When did you realize you had an interest and skill at writing plays?
I took a college playwriting class with Julia May Jonas that changed my life. I think I am more skilled as a reader and student than I am as a writer, so I’ve been really receptive to excellent teachers like Julia, who exposed me to writers/plays/films/novels and expanded my artistic mind.
Do you think the entire Connelly situation would make for a good play? Can one make art from difficult circumstances?
I think the Connelly situation is sad and messed up no matter how you frame it, and I also feel like the circumstances really solidified everyone’s commitment to this project. It would have been so easy for this play not to happen. I’m really grateful that everyone working on the show kept going. I’m so happy with what we’ve made.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Racecar Racecar Racecar, written by Kallan Dana, continues through Sunday, Dec. 22, at the ART/New York Theatres in New York City. Click here for more information and tickets.
