Alexander Offord: If you're any kind of consumer of culture at all, there are certain trends or evolutions in form that you've necessarily been saturated with, particularly in the last twenty years or so. Almost of all of these trends or forms reduce to what we might call "irony," which is to say the kind of self-conscious, wink-wink-nudge-nudge-ing that one sees in TV programs like HBO's Girls, where day-to-day tragedy & self-reproach & inner turmoil are removed from the characters' experience & replaced with a carapace of dramatic self-awareness that is both a) the inevitable consequence of a generation of hyper-educated, internet-fed young people suddenly being driven to create art, & b) dangerously seductive in terms of being accessible & entertaining to watch. It also happens, at least in my opinion, to be at times seriously abrasive to the soul. The American critic Lewish Hyde once wrote, in an essay called Alcohol and Poetry: "Irony has only emergency use. Carried over time it is the voice of the trapped who have come to enjoy their cage."
Mature Young Adults appealed to me because it is about unhip, uncool, unsexy subject matter. It is about the day-to-day experience of human beings who, above all else, feel. It is about two young people who are in love, old-school love, before the whole notion was reduced to eye rolling and a misting of A10 cells with dopamine in the ventral tegmental area of the brain. If there is going to be another major aesthetic movement in the coming years, I suspect it might be a return to themes or characters that are easily written off as "sentimental." It will be a second-coming of characters who don't need to be admired, only loved.
To Wesley's credit, it's also one of a very small minority of plays which I read & didn't just see the playwright trying to convince the audience how smart he is.
Were there any challenges that come to mind (either in the rehearsal process or working with a new script or even not getting to go to Halifax to see the end result...)?
AO: This depends on what is meant by "challenges." I try to excise difficulty from my creative process by working with people more talented than I. Yes, there were serious cuts made to the script; yes, there are always sticky points in rehearsal, but in truth, the biggest challenge in working with Wes & Renée is resisting the temptation to dick around too much.
That being said, the venue itelf is causing me a certain amount of psychic pain, but to an extent that's the nature of Fringe. My kingdom for @#$%ing gobo...
AO: I have a whole rant I could do about this but I don't know of how much interest it would be to your readers. My only experiences thus far have been with the Toronto Fringe, so I can really only speak to that. I guess I would say that conceptually the Fringe is possibly the most important theatre festival in the country, in that it provides basically the only venue for emerging artists to not only a) produce their work on a budget, but b) actually get people to see the stuff. The Canadian theatre scene is so hellaciously underfunded that there is a real hostility to young artists from a lot (though not all) of the establishment. Fringe to certain extent obviates some of this restriction.The worst thing about Fringe really doesn't come from either its patrons or staff/volunteers, but from the reviewers. A sad reality is that far too many people decide to see shows based solely on the arbitrary tastes of a particular journalist. Which, whatever, critics are just doing their job & everyone has to eat & live. But the notion that the worth or existential merit of a work can be reduced to how many fucking "N's" it gets is pretty dispiriting.
What's the best and worst thing about working in Fringe?
What's something you learned from your first relationship?AO: That all grievances, no matter how small, must be aired. Fighting, or at least bickering, is very healthy in a relationship.
AO: I have nothing whatsoever to say to any past girlfriend. Which should tell you a great deal.
If you could ask a past girlfriend one thing, what would it be?
Why should people see MYA over other options in the Fringe?
AO: Because in ten years when Wesley's Artistic Director of the Tarragon Theatre, and Renée's been forced to hire servants just for the task of polishing her Doras, you'll want to be able to say that you saw them act in a shitty art gallery in Halifax for ten bucks. If you remember my name at all, it'll most likely be in some formulation of, "Oh yes, I saw his production of 'Aladdin' at the Norfolk County Theatre. It was a little slow, I thought.'"