December 5, 2024 • 32 mins
Founded by Luke Ferrell in 2022, Ferrell Studios offers exceptional and affordable performing arts education and theatrical productions. They offer a variety of classes and programs, including acting, musical theatre, playwriting, film and television acting, public speaking, and theory and criticism as well as private lessons for those who want to focus on a specific area of study.
At Ferrell Studios, they believe that the arts have the power to inspire, uplift, and transform. They strive to create a positive, supportive environment where students can feel confident and comfortable expressing themselves.
With a mission statement like that, there is a lot to expect from Ferrell Studios so it’s no surprise that their first full length play is something as thought-provoking as “The Shape of Things.”
Starring Catherine Hunt, Max Miiller, Breanna Schad, and Steven Franklin, the four-character play explores how far someone is willing to go and how much they change for who (or what) they love.
Here you can listen to our interview with director Uchenna Agbu and stars, Catherine Hunt and Max Miller. There’s a lot to break down.
Thanks for listening!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Gina Marie Rodriguez (00:03):
This is Gina Marie Rodriguez and you're
listening to the Jersey ArtsPodcast.
Today, we're talking aboutFerrell Studios and their
upcoming production, the Shapeof Things by Neil LaButte.
Founded by Luke Ferrell in 2022, ferrell Studios offers
exceptional and affordableperforming arts education and
theatrical productions.
Affordable performing artseducation and theatrical
(00:23):
productions.
They offer a variety of classesand programs, including acting,
musical theater, playwriting,film and television acting,
public speaking, and theory andcriticism, as well as private
lessons for those who want tofocus on a specific area of
study.
At Ferrell Studios, they believethat the arts have the power to
inspire, uplift and transform.
(00:45):
They strive to create apositive, supportive environment
where students can feelconfident and comfortable
expressing themselves.
With a mission statement likethat, there is a lot to expect
from Ferrell Studios, so it's nosurprise that their first
full-length play is something asthought-provoking as the Shape
of Things, starring KatherineHunt, max Miller, brianna Scadd
(01:06):
and Stephen Franklin.
The four-character playexplores how far someone is
willing to go and how much theychange for who or what they love
.
Stick around to hear myinterview with director Uchenna
Agbu and stars Katherine Huntand Max Miller.
There's a lot to break down.
Max Miller (01:27):
Hi, my name is Max Miller.
There's a lot to break down.
Hi, my name is Max Miller, mypronouns are he, him, and I play
Adam in the Shape of Things.
Catherine Hunt (01:34):
Hi, catherine Hunt.
I play Evelyn in the Shape ofThings and I use she her
pronouns.
Uchenna Agbu (01:40):
Hi, my name is Uchenna Agbu.
I use she.
They pronouns and I am thedirector of the Shape of Things.
Thank you so much for being amthe director of the Shape of.
Gina Marie Rodriguez (01:44):
Things.
Thank you so much for beinghere to talk about the Shape of
Things by Neil LaButte.
I am excited and also scared,because this is a heavy show.
You know there's a lot going on, but I can't wait to talk to
you guys about it.
However, I'd love to talk toyou about Feral Studios first,
because I feel like this is arelatively young performing arts
(02:07):
organization.
I think your inauguralproduction was what about two
years ago, in 2022?
I mean, I've lost all track oftime, but I think that's pretty
recent.
So I'd love to hear more aboutwhat the studio offers.
Uchenna perhaps that'ssomething you can touch on, sure
.
Uchenna Agbu (02:23):
So first of all, thank you so much for having us
and I'm so excited to talk aboutFerrell Studios, my favorite
community theater.
So it was started by our friendLuke Ferrell in August 22, back
when he was, I want to say, asophomore at Rutgers.
And he kind of started itbecause he noticed a lack of
access to arts education indifferent parts of the country,
whether that was due to theeducation systems they had,
(02:45):
transportation or financialbarriers.
So he just kind of decided tostart his own theater company
and make that access widelyavailable.
So Ferrell Studios offersvirtual classes and in-person
classes and also does fullproductions.
Gina Marie Rodriguez (03:00):
I can't get over the fact that he was
only a sophomore in hisundergraduate year.
Uchenna Agbu (03:31):
That's so huge, and I believe he was one of my
former students.
So I have to say I'm filmmakingclasses, playwriting classes,
anything you can really name inkind of theater and performing
arts, beryeral Studios kind ofhas it.
Gina Marie Rodriguez (03:43):
This is so cool to me.
I'm fascinated by this wholeproduction.
Thank you so much for giving usa little bit of a background
about Feral Studios, and now Iguess we should talk about the
main event, which is the Shapeof Things, and, if I'm correct,
I believe you mentioned to meearlier that this is the first
(04:03):
full length production thatFeral Studios is doing.
Is that correct?
Is the first full-lengthproduction that feral studios is
doing?
Is that correct, or the firstfull-length play?
Uchenna Agbu (04:07):
I should say yes this is the first full-length
play that feral studios isproducing.
Um, we have done play festivalswith shorter plays and one acts
, but this is the first fullsled play that's happening.
How exciting is that for you?
So exciting, so scary.
Just because it is like withmusical theater everything is so
(04:28):
fun and so colorful.
And the first thing I said,directing this, was like I want
everything to be black, whiteand gray and I don't want it to
be any color until the end.
And he was like, hey, go for it.
So I'm really glad that he'sletting me do it.
Gina Marie Rodriguez (04:40):
See, that's what I mean about the
show being heavy, right that?
See, that's what I mean aboutthe show being heavy, right,
that's what I'm I'm scared, butlooking forward to it.
If you know that's what artshould be.
I mean, it depends, right, likewe were saying about musicals,
they can be fun and colorful andbright, but they should still
make you think.
Art should always make youthink, and this show is just a
(05:01):
prime example of making youthink, is just a prime example
of making you think.
So I want to ask I'm going togo back for a second, because I
want to talk to the actors hereas well about your experience
with Feral Studios.
So, catherine, if you'd like toget us started, what has your
experience been working with thestudio?
And then we'll jump right toMax.
Catherine Hunt (05:22):
Honestly incredible.
I mean, I worked with Uchennain college, so I already had a
personal relationship with a lotof people who were like making
the thing happen.
But I can share that, like youknow, I'm like you know, in my
adulthood I'm working a nine tofive, and so making room for art
and play and like being likewith other people and doing
(05:43):
something that's like outside oflike job and money, um, is
super important, and I wasfinding it really hard to
navigate that like where do I go?
What do I do?
And I had found that, like,although the community theater
space is wide in New Jersey andit has a lot of offerings, I
felt like there was a lot oflike insidery, like you had to
be a member at a certain placeand pay money, or maybe you had
(06:05):
to participate beyond, like justbeing able to be in rehearsals
and in the show, and I get that.
You know everything counts.
But I found that kind of to be abarrier for me of like, oh, I
don't know anyone at this studio.
I'm kind of nervous aboutauditioning I don't or they're
like giving priority to pastmembers, and so I I was like,
okay, this you know I'm I'mgoing at this from a perspective
(06:26):
of like let me just try thisnew thing.
It started by someone like Iknow who's you know new and
fresh in the scene and likelet's see what happens.
So just it feels like kind of abreath of fresh air to me and a
really wonderful opportunityfor like young working
professionals who are kind oflike in between in the world of
like you're kind of justfiguring it out, you don't
(06:46):
really.
It's like your 20s are weirdand so it's fun to like be in
your 20s and be weird but alsoput on an amazing show together.
So that's that's kind of how Ifeel about it and that like it's
.
It's kind of like a I found agood sense of community, um,
with other people through it aswell.
So you know, I'm I'm just I'mgrateful for it and super
excited to pull the thing off.
Gina Marie Rodriguez (07:09):
I love that.
Thank you so much, Max.
How do you feel?
Max Miller (07:14):
Well, like Catherine , I was fortunate enough to meet
Uchenna and also Luke atcollege at Rutgers, and I
actually didn't do anything withFeral Studios until a couple
months ago when I did one oftheir one act festivals.
But being on the outside,seeing them work so hard at this
community and at this group, Iwas like I want to be a part of
(07:35):
that, I want to join, and sogetting to actually be in a show
directed by Uchenna, have Lukeoversee it with everyone that
I've been able to see grow asartists through the past couple
of years has been really cool,and seeing myself grow with them
.
So it feels kind of likeplaying dress up with your
friends, like going back to whenwe were kids but then realize
(08:00):
that we're becoming adults andartists in our own right.
So it's really cool getting tosee everything grow together and
kind of see what the futureholds.
Gina Marie Rodriguez (08:09):
I love what you said there about how
you found inspiration, becausethere's something about watching
someone else's passion andallowing that to invigorate you,
and I think that's well thebeauty of art.
But what community theatershould be?
You should be thriving right inthis environment, surrounded by
people who feel the same way asyou do, and it almost validates
(08:34):
your own feelings about why youlove the theater so much.
Yeah, I love hearing about that, so thank you for sharing.
I always love to ask.
I love hearing about that, sothank you for sharing.
I always love to ask.
This is for the director.
As I mentioned before, thispiece is a lot, and I think it's
(08:57):
a little jarring in the sensethat it certainly forces
audiences to think andreevaluate their worldview.
Really, this I don't want togive anything away.
I'm terrified of spoilers here,and there's just so much to the
piece that I think everybodyneeds to just experience for
themselves in the audience.
But I'd love to know how youapproach something so sensitive
as a director.
What is your process?
Uchenna Agbu (09:19):
And I think the key word there is process.
I'm very much a process overresult kind of person and that's
how I kind of direct.
So the most important thing forme was to make sure we were
cultivating a safe and funenvironment outside of the scene
work and I'm so lucky I get towork with my friends every day,
so it's not too difficult tomake sure that we are having fun
(09:42):
and we feel safe to talk toeach other about the themes in
the show, the different thingsthat are going on, what we're
comfortable with and notcomfortable with.
Even you know, as someone who'snot in the scenes, as someone
who's really just kind ofwatching and directing them, it
still matters for everyone who'sworking on the show to make
sure that you are comfortableand feeling safe and having fun.
That's one of my number onerules is having fun, because if
(10:05):
you're not having fun, I don'tknow why we're doing it so,
catherine, your character again.
Gina Marie Rodriguez (10:11):
I'm hesitant to share too much about
her because I don't want toslip and give any spoilers, but,
god, she must be a blast toplay.
And oh yes, I'm curious as tohow her worldview, because she
is an art, the character is anartist in her own right, so it's
a very specific worldview and II want to know how you're
(10:33):
approaching that and what it'slike to play this character, to
create this character.
Catherine Hunt (10:38):
I mean, I think like it would be really easy.
I think the way the script iswritten is that she is not given
a lot of substance of like thisis a human being to really dig
into, and so that's that's whereI'm like.
I have to do that work on myown to be like how, how am I
(11:00):
like her Like, how, how is shehuman?
What, like, how is like?
Where does that come from?
Um, and, yeah, it's, it's fun,it's so much fun, um, it's
challenging, it's kind of scary,um, because you know, it's like
a vulnerable thing, uh, to be,you know, playing someone who's
(11:24):
not super likable she's not avery likable gal um, but also
trying to bring moments ofrealness, honesty, truth to
someone who's like kind of not asuper straight up person.
So it's, it's definitely achallenge, but I'm, I'm, it's,
it is a lot of fun.
And when I'm thinking about her,I'm thinking about, like, the
(11:48):
idea of intent versus impact,kind of here, too, like, I'm
kind of twisting in that, likeyou know, she's like, again, not
likable, doesn't do the bestthings, but the impact of her
actions versus the intent aresomething interesting and that
I'm bringing to the conversationwhenever I'm, you know, working
on it, cause I I think it wouldbe um a one dimensional
(12:12):
approach for me to just view heras the antagonist, right?
I don't think that's fun.
I don't think that's fun towatch, to just be like that's
the antagonist, you know it'slike that's that's not
interesting, to have someone youknow do something that maybe is
like not the best thing, butlike have remorse or slip up or
hesitate, or you know, like it'sthere's moments to play in
there and be like, oh, there's,because I don't think the script
(12:34):
itself lends it itself to that.
So that's, that's another thingthat I'm trying to kind of
infuse in her character.
It's just a bit realness,duality.
It's not again, it's not blackand white.
There's the gray.
I think she's the gray, like tothe T.
She is morally gray, as morallygray as you can get.
Gina Marie Rodriguez (12:55):
I really love how you tied that in for
what Jenna said earlier.
But you just said something.
You said intent versus impact.
Right, that I'm really latchingon to because, while I haven't
seen the show in God knows howmany years, we're going to
pretend that I'm super young.
It's, I think, a really great.
(13:16):
I don't know a really conciseway of describing the show.
Intent versus impact is likethe entire takeaway for me.
Not that I'm telling ouraudience what they should take
away from this piece, and I dothink that it lends itself right
to a bunch of differentinterpretations.
But Max, your character well,your character is like the polar
(13:38):
opposite of Evelyn, so I'mcurious to hear your take.
But also, Catherine, youmentioned how vulnerable it is
to play the antagonist, whereasMax, you're playing someone who,
the character himself is quitevulnerable.
So I would love to hear how youwork through that as a
(13:59):
performer no-transcript.
Max Miller (14:25):
I also think when dealing with you know the impact
versus intent.
It helps deepen the surfacematerial, especially playing
Adam, because it's very easy todo someone's bad and someone's
good and even as an audiencemember watching something like
(14:48):
that, it's very surface level,as Catherine said.
But especially when you'replaying someone, it kind of
deepens your understanding ofthe character because you can't
go at it.
As you know, I'm thequote-unquote victim in this
situation and that person's thebad person in the scene and we
should play it like that and itallows you to bring your
emotions out when you're reallynot playing it, as biased as
(15:11):
that is.
So it's, it's a lot of fun, butit's challenging in all the
good ways just hearing you guystalk about it, I'm so excited.
Gina Marie Rodriguez (15:18):
but I'm curious because this exists as a
film as well.
I believe your filmcounterparts are Paul Rudd and
Rachel Weisz, who were in theoriginal stage play as well.
Now, actors have very differentviews on the research that they
do when going into a newperformance, so I'm curious has
(15:41):
anyone seen the film version ofthe Shape of Things?
Uchenna Agbu (15:48):
Not yet.
Gina Marie Rodriguez (15:50):
Are you planning on watching?
Uchenna Agbu (15:51):
afterwards.
Oh yes, I have alreadypurchased the DVD.
It's so hard to find online.
But kind of my philosophy withwatching other versions of a
show that you are currentlydoing or about to do shortly put
, don't do it.
I think it's best to wait untilyou know exactly what it is you
want to do with it, and thenit's fun to kind of look at how
(16:14):
yours is the same, how yoursdiffers from what you see in any
other iteration of it.
But I feel like we've gotten toa point where we could watch it
and it would not affect ourperformance, even though we
haven't performed yet.
Catherine Hunt (16:26):
I also felt I was.
I didn't want to be comparingmyself to someone else, which is
that's always what's going tohappen, or just letting that I
don't know.
You want to be as true to youor as true to like you're.
What you're bringing to thetable, you're going to bring
something.
Every actor is going to bringsomething different to a
character.
What you're bringing to thetable, you're going to bring
something.
Every actor is going to bringsomething different to the
(16:47):
character.
Max Miller (16:47):
So just trying to keep it as pure and not in
comparison as possible and Ialmost want to keep it in this
like little bubble of our show.
I've never done the show, I'venever seen it, so the only
understanding I have of evelynis katherine's portrayal and all
the other actors.
So so I kind of like onlyexisting in that understanding
(17:07):
of the show as we're doing itfor now.
I'd love to see it after, but Ikind of like just that world
that we have.
Gina Marie Rodriguez (17:14):
I think that's so important and I happen
to be of the same mind.
But I'm always surprisedbecause actors do have their own
processes and it is differentfor everyone.
I have heard and spoken toactors who like to see how it
was done previously, if they cansee different iterations,
whereas they won't just watchone production, they'll watch a
(17:35):
bunch, if they can find them,and then kind of pick and choose
, which you know may bedifferent than my process, but I
find it fascinating.
So I like to ask, because younever know.
Catherine Hunt (17:46):
I think I watched a trailer of it that
they did in the West end withthe guy from Bridgerton.
I think that was the furthestextent that I was like I need to
see what this looks like.
And then I was like, okay,that's what it looks like,
alrighty, that's good, I'm notgoing to watch beyond that.
So, anyways, he, he was in itand on that.
(18:06):
So anyways he, he was in it.
And I was like, oh, this guy'sin it.
Gina Marie Rodriguez (18:08):
So I think I watched a three minute
trailer, and that was that.
Was that that counts, that'sfine essentially actually so I
did minor, minor research onnilabute himself, because I'm
not familiar with many of hisother shows I I happen to have
known this one from, like I said, many moons ago.
But critics in the past havelabeled Neil deBute's work, or
(18:31):
sometimes himself, misanthropic.
So you know, misanthropic isdisliking the humankind and I'm
curious as to having beenworking on this production now,
how do you respond to that claim?
Do you agree?
Do you disagree?
Do you find the gray in thatstatement?
Uchenna Agbu (18:48):
I think I would agree, but I also think it's
important to take written wordsfrom a playwright and kind of
create a different world aroundit, rather than what the
playwright's personal beliefsmight be, unless they're wild.
But in this case I think thatfirst read of the playwright's
personal beliefs might be,unless they're wild, but in this
case I think that first read ofthe play and maybe some of his
(19:10):
other work, he would be likeyeah, this, this guy doesn't
really like people, like andthat's valid like people aren't
great.
But he writes from such aperspective, in my opinion,
where it's like it feels likeEvelyn is the ultimate evil and
there is no other side to her,which is why I really appreciate
what Catherine's doing with thecharacter and it's like she is
(19:31):
a human being.
She is someone who's capable ofloving other people and being
kind to other people.
Maybe she's not always choosingto do so, but she is a human
and I think that was the mostimportant thing that I was
looking for.
Casting the show is someone whoI thought would show different
sides of this person rather thanjust play it one no, and be
(19:51):
like she's an evil person whohates other people and does bad
things because, like you said,that's boring, that's no fun,
it's.
It's much harder as an audienceto watch something like this
and think, oh, I might be alittle bit similar to her, maybe
I can see her point of view,maybe I can see his point of
view.
Maybe he's evil and she's not.
(20:11):
I think it's really.
It's really hard to read thison a first read and think those
things.
But depending on who you haveperforming it which I'm very
lucky to have these two playingthese two characters it can
really change how you view thestory based on what people do
with it.
Gina Marie Rodriguez (20:28):
That was so well said, I'm a little bit
speechless.
I think that, knowing whoEvelyn is, and'm really
interested to see, catherine,how you are humanizing her.
(20:51):
I mean, she is a human rightand I don't even like using that
term humanizing but we've saidbefore that she is the
antagonist and possibly theultimate evil in this world.
But I haven't seen an exampleof a more empathetic Evelyn and
(21:11):
I'm not necessarily sayingthat's the approach that you're
going for, but I'm intrigued.
Let's say that I am intriguedby everything we've been saying,
and I'm talking a lot now, soI'm going to throw it back to
you.
But, catherine and Max, I'mtalking a lot now, so I'm gonna
throw it back to you.
But, catherine and Max, I wouldlove to hear your take on on
the misanthrope.
Catherine Hunt (21:31):
You know critique yes, yes, sure, right,
like surface level, as you said.
Sure, I got it, maybe, but I, Ipersonally, I just think it's
honest.
Maybe that's what that's morekind of.
What I grabbed to is.
I'm like this feels honest.
I don't know I've done thingsthat I've like stayed up at
(21:51):
night being like I did a badthing.
You know, like I feel likeeveryone has had moments where
they're like, ooh, like I wentinto a morally great place that
I really I shouldn't have goneinto.
You know, like it is human topush the boundaries and go too
far, and so that's where I don'tknow if it's believing mankind
is doomed to be horrible andhurt each other.
(22:13):
I'm just like maybe it's justhonest of our mishaps and
slip-ups and, yes, maybe some ofthem are more severe or
couldn't be prolonged, slip-upsthat aren't just a moment.
But you know, I I think, likeI'm of the belief that, like I
don't know, evil is not likejust born, it's created, and
there's environments that peoplebecome, you know the way they
(22:37):
are in, and so that's kind ofhow I'm approaching her too.
Is I'm like, hey, I don't, Idon't think she's evil.
I mean, I know that that's theway that that's it's written,
but I don't, I don't think sheis, and I also am like
interested in like, okay, sowhat kind of environment would
like produce a person that would, like you know, have these
intentions?
Like like that's what I'minterested in it, you know, um,
(23:00):
because honestly, I'm surethere's someone out there that
has had these thoughts.
You know what I'm saying.
Like I think that he didn't justinvent this concept from the
sky.
Like I'm sure there's somereality in it.
So, you know, grounding intolike all right, like, let's be
like full.
Like this is a real person,like okay, where did she grow up
?
What were her parents like?
(23:20):
Who like who is she friendswith in high school?
Like who, like who is shefriends with in high school?
What like like what?
What led her to this moment?
What happens to her after that?
Like those are all importantquestions for me because it
helps me, like understand thatit's real and it's not just like
I'm just going to be as mean asI can be, like that.
That doesn't feel rewarding.
(23:41):
Um, so, yeah, I think, think hewrites from a place of, yeah,
maybe a bit of I don't even knowthe word.
It's like distaste, disdain forhumanity, a bit of mistrust in
humanity.
But I also think it's honestand there is room in there for
like everyone trips up in thisshow, it's not just one person,
(24:04):
and so I think that that's anequalizing ground of like we are
humans, we trip up, that I like, that we're all on.
That's kind of where I land is.
I'm like we are all.
The imperfection is not justone person, it's everyone.
Everyone falls victim to it,and I'd like to believe they
would get back up as well afterthat, after that scene.
(24:26):
So that's where I'll leave it.
Max Miller (24:29):
Yeah, I kind of I agree with the whole.
Is the playwright writing froma distaste for humanity or more
just portraying something thatcould happen and kind of going,
here you go.
I'm going to steal from my dadhere, but he always, whenever we
talk, he's always saying youknow, he doesn't know if humans
(24:52):
are good or if they're bad, ormaybe they're just self
interested, maybe they just dothings out of selfishness and
that could be good, that youcould do something out of
selfishness that ends up beinggood for another person.
So I don't know exactly if it'sa negative portrayal of people
(25:12):
or if it's just.
You know if you can certainlywalk away with that opinion.
I don't know if I don't thinkthat I walk away with that
opinion after doing the show.
I think I'm kind of.
I like to see how nuanced humanbeings are and how, if someone
does one bad thing or a couplebad things, does that make them
(25:33):
a bad person or does that maketheir actions bad?
So I don't know.
That's what I just take awayfrom it.
Gina Marie Rodriguez (25:40):
I love how philosophical this conversation
has gotten.
And we haven't even seen theshow, right?
I mean, you guys are working onit, but I haven't seen the show
.
And we're already talking aboutall of these really important
ideas of humanity, right?
Because, catherine, what did youjust say that you know you've
pushed the boundaries of, likethe moral gray, and you're right
(26:05):
, I don't necessarily likethinking about it.
I, you know, I don't want tofocus on the bad things that
I've done, but have I absolutelybeen plagued by, you know,
horrible things that I've donefrom 20 years ago?
Yeah, but I mean, that issomething that lives in all of
us and I think that's the beautyof this work of us, and I think
that's the beauty of this work,that it does really force you
(26:27):
to accept that maybe you knowthat I won't say evil, but that
kind of unfortunate nature doeslive within all of us, and
that's I'm just coming back towhat I said before why this show
is heavy.
Right, there's a lot going on,but that's what makes it so
(26:48):
thrilling.
That's I can't I mean, Ishouldn't be like raving about a
show that I haven't seen yet,but like I'm just so excited to
talk about it and I guess I wantto know from you what are you
most excited about.
We've talked about a lot, butwhat are you most excited about?
We've talked about a lot, butwhat are you most excited about
when it comes to bringing thispiece to the public?
Catherine Hunt (27:19):
The audience.
I feel like sorry, max, I justinterrupted you, the audience,
and I want this debate to happen.
As people leave the theater, Iwant them to be like so who's in
the wrong?
People leave the theater.
I want them to be like so who'sin the wrong?
Well, I want you guys to totalk to each other and to
dissect it.
I, like you know I.
It's.
It's not like watching realitytv, but it is the guise of like
you know you.
You feel like you're far enoughremoved from it where you can
debate characters, intentionsand impacts and whatever, and
(27:42):
like so I.
I'm excited for people to justlike come along for the ride,
live for the drama of it andthen debate afterwards like I,
you should be left withquestions, you should be left
being like oh, I don't know who,what, so I'm, I'm excited for
just people to experience it.
Max Miller (28:02):
I'm really excited to hear on stage little gasps
from the audience and littlelike just at certain moments,
because it is you know again,without saying too much, it is a
play that takes you on a ride.
So I almost wish I could listenin on people's thoughts of oh,
this is definitely going tohappen.
(28:23):
Oh, that did not go the way Ithought it would.
So that's what I'm lookingforward to is seeing people,
their views, change throughoutthe play of the different
characters and how they end upreacting to the way the story
goes.
Maybe it goes exactly the waythey thought it would and maybe
(28:44):
it goes in a totally differentdirection.
So I'm really excited for that.
Uchenna Agbu (28:48):
I am in the same line of thinking.
I'm just and usually I'm notreally thinking about the
audience when I'm directing ashow I'm just like what we
create is what we create andthat's where it ends.
But with this show specifically, I'm so excited to sit in the
audience.
I get to sit in the audienceand be with people as they
experience this, because it'sgoing to be weird.
(29:09):
There are parts of this playthat are awkward, there are
parts that are scary, there areparts that are incredibly funny,
and being able to sit next topeople as they experience that,
I think is going to be a lot offun and I just I hope that they
feel like they are right therewith everything that's happening
on stage.
The way this play was written inthe, you know, in the first
couple of pages it says to beperformed without intermission
(29:32):
and without vows, and we're alsodoing it with no house speech,
so it's just lights off.
It all happens in two hourslights back on and everyone goes
home.
So I think that in and ofitself is going to be just a
weird experience.
So I'm just I'm excited to seehow people take that in and how
it affects their understandingand experience of the play.
Max Miller (29:51):
I do, now that Uchenna has brought up that
there's really funny moments.
The most interesting part ofthis whole process has been how
light it feels to perform thisshow, even though there are
certainly darker moments.
I'm having a really good timeand maybe it's the atmosphere
created, but it does.
It is surprisingly, uhinteresting how fun it can feel
(30:16):
and how fun certain scenes feelfor the actors, but also for the
audience.
Catherine Hunt (30:21):
It it, you know, hopefully a couple laughs yeah,
I think it's supposed to belike a little ridiculous, like
just a little like it's pushingit to be like okay, this is a
little ridiculous.
And we also, I feel like duringour first table read um, one of
our stage managers had like Idon't think she'd ever read it
before and she was gasping.
She was like she had such vocalreactions and it was so much
(30:43):
fun to have.
It was just so fun toexperience that together, like
reading it like a drama columnor like a really good
page-turning book.
The plot speaks for itself.
I'm excited for those moments,for people to experience that.
Gina Marie Rodriguez (30:58):
Whether we consider this show a dark
comedy, a dramedy or simply adrama lies in the mind of the
beholder.
As you've heard, this show begsconversation.
You get to decide, and I wouldbe curious to know where you
land.
You can get your tickets andlearn more at feralstudioscom.
If you liked this episode, besure to review, subscribe and
(31:20):
tell your friends.
A transcript of this podcast,links relevant to the story and
more about the arts in NewJersey can be found at
jerseyartscom.
The Jersey Arts Podcast ispresented by Art Pride New
Jersey, advancing a state ofcreativity since 1986.
The show was co-founded by andcurrently supported by, funds
from the New Jersey StateCouncil on the Arts, with
(31:41):
additional support from theNational Endowment for the Arts.
This episode was hosted, editedand produced by me, gina Marie
Rodriguez.
Executive producers are JimAtkinson and Isaac Cernodiez,
and my thanks to today's guests,uchenna Agbu, catherine Hunt
and Max Miller, for their time.
I'm Gina Marie Rodriguez forthe Jersey Arts Podcast.
Thanks for listening.
This is Gina Marie Rodriguez and you're
listening to the Jersey ArtsPodcast.
Today, we're talking aboutFerrell Studios and their
upcoming production, the Shapeof Things by Neil LaButte.
Founded by Luke Ferrell in 2022, ferrell Studios offers
exceptional and affordableperforming arts education and
theatrical productions.
Affordable performing artseducation and theatrical
(00:23):
productions.
They offer a variety of classesand programs, including acting,
musical theater, playwriting,film and television acting,
public speaking, and theory andcriticism, as well as private
lessons for those who want tofocus on a specific area of
study.
At Ferrell Studios, they believethat the arts have the power to
inspire, uplift and transform.
(00:45):
They strive to create apositive, supportive environment
where students can feelconfident and comfortable
expressing themselves.
With a mission statement likethat, there is a lot to expect
from Ferrell Studios, so it's nosurprise that their first
full-length play is something asthought-provoking as the Shape
of Things, starring KatherineHunt, max Miller, brianna Scadd
(01:06):
and Stephen Franklin.
The four-character playexplores how far someone is
willing to go and how much theychange for who or what they love
.
Stick around to hear myinterview with director Uchenna
Agbu and stars Katherine Huntand Max Miller.
There's a lot to break down.
Max Miller (01:27):
Hi, my name is Max Miller.
There's a lot to break down.
Hi, my name is Max Miller, mypronouns are he, him, and I play
Adam in the Shape of Things.
Catherine Hunt (01:34):
Hi, catherine Hunt.
I play Evelyn in the Shape ofThings and I use she her
pronouns.
Uchenna Agbu (01:40):
Hi, my name is Uchenna Agbu.
I use she.
They pronouns and I am thedirector of the Shape of Things.
Thank you so much for being amthe director of the Shape of.
Gina Marie Rodriguez (01:44):
Things.
Thank you so much for beinghere to talk about the Shape of
Things by Neil LaButte.
I am excited and also scared,because this is a heavy show.
You know there's a lot going on, but I can't wait to talk to
you guys about it.
However, I'd love to talk toyou about Feral Studios first,
because I feel like this is arelatively young performing arts
(02:07):
organization.
I think your inauguralproduction was what about two
years ago, in 2022?
I mean, I've lost all track oftime, but I think that's pretty
recent.
So I'd love to hear more aboutwhat the studio offers.
Uchenna perhaps that'ssomething you can touch on, sure
.
Uchenna Agbu (02:23):
So first of all, thank you so much for having us
and I'm so excited to talk aboutFerrell Studios, my favorite
community theater.
So it was started by our friendLuke Ferrell in August 22, back
when he was, I want to say, asophomore at Rutgers.
And he kind of started itbecause he noticed a lack of
access to arts education indifferent parts of the country,
whether that was due to theeducation systems they had,
(02:45):
transportation or financialbarriers.
So he just kind of decided tostart his own theater company
and make that access widelyavailable.
So Ferrell Studios offersvirtual classes and in-person
classes and also does fullproductions.
Gina Marie Rodriguez (03:00):
I can't get over the fact that he was
only a sophomore in hisundergraduate year.
Uchenna Agbu (03:31):
That's so huge, and I believe he was one of my
former students.
So I have to say I'm filmmakingclasses, playwriting classes,
anything you can really name inkind of theater and performing
arts, beryeral Studios kind ofhas it.
Gina Marie Rodriguez (03:43):
This is so cool to me.
I'm fascinated by this wholeproduction.
Thank you so much for giving usa little bit of a background
about Feral Studios, and now Iguess we should talk about the
main event, which is the Shapeof Things, and, if I'm correct,
I believe you mentioned to meearlier that this is the first
(04:03):
full length production thatFeral Studios is doing.
Is that correct?
Is the first full-lengthproduction that feral studios is
doing?
Is that correct, or the firstfull-length play?
Uchenna Agbu (04:07):
I should say yes this is the first full-length
play that feral studios isproducing.
Um, we have done play festivalswith shorter plays and one acts
, but this is the first fullsled play that's happening.
How exciting is that for you?
So exciting, so scary.
Just because it is like withmusical theater everything is so
(04:28):
fun and so colorful.
And the first thing I said,directing this, was like I want
everything to be black, whiteand gray and I don't want it to
be any color until the end.
And he was like, hey, go for it.
So I'm really glad that he'sletting me do it.
Gina Marie Rodriguez (04:40):
See, that's what I mean about the
show being heavy, right that?
See, that's what I mean aboutthe show being heavy, right,
that's what I'm I'm scared, butlooking forward to it.
If you know that's what artshould be.
I mean, it depends, right, likewe were saying about musicals,
they can be fun and colorful andbright, but they should still
make you think.
Art should always make youthink, and this show is just a
(05:01):
prime example of making youthink, is just a prime example
of making you think.
So I want to ask I'm going togo back for a second, because I
want to talk to the actors hereas well about your experience
with Feral Studios.
So, catherine, if you'd like toget us started, what has your
experience been working with thestudio?
And then we'll jump right toMax.
Catherine Hunt (05:22):
Honestly incredible.
I mean, I worked with Uchennain college, so I already had a
personal relationship with a lotof people who were like making
the thing happen.
But I can share that, like youknow, I'm like you know, in my
adulthood I'm working a nine tofive, and so making room for art
and play and like being likewith other people and doing
(05:43):
something that's like outside oflike job and money, um, is
super important, and I wasfinding it really hard to
navigate that like where do I go?
What do I do?
And I had found that, like,although the community theater
space is wide in New Jersey andit has a lot of offerings, I
felt like there was a lot oflike insidery, like you had to
be a member at a certain placeand pay money, or maybe you had
(06:05):
to participate beyond, like justbeing able to be in rehearsals
and in the show, and I get that.
You know everything counts.
But I found that kind of to be abarrier for me of like, oh, I
don't know anyone at this studio.
I'm kind of nervous aboutauditioning I don't or they're
like giving priority to pastmembers, and so I I was like,
okay, this you know I'm I'mgoing at this from a perspective
(06:26):
of like let me just try thisnew thing.
It started by someone like Iknow who's you know new and
fresh in the scene and likelet's see what happens.
So just it feels like kind of abreath of fresh air to me and a
really wonderful opportunityfor like young working
professionals who are kind oflike in between in the world of
like you're kind of justfiguring it out, you don't
(06:46):
really.
It's like your 20s are weirdand so it's fun to like be in
your 20s and be weird but alsoput on an amazing show together.
So that's that's kind of how Ifeel about it and that like it's
.
It's kind of like a I found agood sense of community, um,
with other people through it aswell.
So you know, I'm I'm just I'mgrateful for it and super
excited to pull the thing off.
Gina Marie Rodriguez (07:09):
I love that.
Thank you so much, Max.
How do you feel?
Max Miller (07:14):
Well, like Catherine , I was fortunate enough to meet
Uchenna and also Luke atcollege at Rutgers, and I
actually didn't do anything withFeral Studios until a couple
months ago when I did one oftheir one act festivals.
But being on the outside,seeing them work so hard at this
community and at this group, Iwas like I want to be a part of
(07:35):
that, I want to join, and sogetting to actually be in a show
directed by Uchenna, have Lukeoversee it with everyone that
I've been able to see grow asartists through the past couple
of years has been really cool,and seeing myself grow with them
.
So it feels kind of likeplaying dress up with your
friends, like going back to whenwe were kids but then realize
(08:00):
that we're becoming adults andartists in our own right.
So it's really cool getting tosee everything grow together and
kind of see what the futureholds.
Gina Marie Rodriguez (08:09):
I love what you said there about how
you found inspiration, becausethere's something about watching
someone else's passion andallowing that to invigorate you,
and I think that's well thebeauty of art.
But what community theatershould be?
You should be thriving right inthis environment, surrounded by
people who feel the same way asyou do, and it almost validates
(08:34):
your own feelings about why youlove the theater so much.
Yeah, I love hearing about that, so thank you for sharing.
I always love to ask.
I love hearing about that, sothank you for sharing.
I always love to ask.
This is for the director.
As I mentioned before, thispiece is a lot, and I think it's
(08:57):
a little jarring in the sensethat it certainly forces
audiences to think andreevaluate their worldview.
Really, this I don't want togive anything away.
I'm terrified of spoilers here,and there's just so much to the
piece that I think everybodyneeds to just experience for
themselves in the audience.
But I'd love to know how youapproach something so sensitive
as a director.
What is your process?
Uchenna Agbu (09:19):
And I think the key word there is process.
I'm very much a process overresult kind of person and that's
how I kind of direct.
So the most important thing forme was to make sure we were
cultivating a safe and funenvironment outside of the scene
work and I'm so lucky I get towork with my friends every day,
so it's not too difficult tomake sure that we are having fun
(09:42):
and we feel safe to talk toeach other about the themes in
the show, the different thingsthat are going on, what we're
comfortable with and notcomfortable with.
Even you know, as someone who'snot in the scenes, as someone
who's really just kind ofwatching and directing them, it
still matters for everyone who'sworking on the show to make
sure that you are comfortableand feeling safe and having fun.
That's one of my number onerules is having fun, because if
(10:05):
you're not having fun, I don'tknow why we're doing it so,
catherine, your character again.
Gina Marie Rodriguez (10:11):
I'm hesitant to share too much about
her because I don't want toslip and give any spoilers, but,
god, she must be a blast toplay.
And oh yes, I'm curious as tohow her worldview, because she
is an art, the character is anartist in her own right, so it's
a very specific worldview and II want to know how you're
(10:33):
approaching that and what it'slike to play this character, to
create this character.
Catherine Hunt (10:38):
I mean, I think like it would be really easy.
I think the way the script iswritten is that she is not given
a lot of substance of like thisis a human being to really dig
into, and so that's that's whereI'm like.
I have to do that work on myown to be like how, how am I
(11:00):
like her Like, how, how is shehuman?
What, like, how is like?
Where does that come from?
Um, and, yeah, it's, it's fun,it's so much fun, um, it's
challenging, it's kind of scary,um, because you know, it's like
a vulnerable thing, uh, to be,you know, playing someone who's
(11:24):
not super likable she's not avery likable gal um, but also
trying to bring moments ofrealness, honesty, truth to
someone who's like kind of not asuper straight up person.
So it's, it's definitely achallenge, but I'm, I'm, it's,
it is a lot of fun.
And when I'm thinking about her,I'm thinking about, like, the
(11:48):
idea of intent versus impact,kind of here, too, like, I'm
kind of twisting in that, likeyou know, she's like, again, not
likable, doesn't do the bestthings, but the impact of her
actions versus the intent aresomething interesting and that
I'm bringing to the conversationwhenever I'm, you know, working
on it, cause I I think it wouldbe um a one dimensional
(12:12):
approach for me to just view heras the antagonist, right?
I don't think that's fun.
I don't think that's fun towatch, to just be like that's
the antagonist, you know it'slike that's that's not
interesting, to have someone youknow do something that maybe is
like not the best thing, butlike have remorse or slip up or
hesitate, or you know, like it'sthere's moments to play in
there and be like, oh, there's,because I don't think the script
(12:34):
itself lends it itself to that.
So that's, that's another thingthat I'm trying to kind of
infuse in her character.
It's just a bit realness,duality.
It's not again, it's not blackand white.
There's the gray.
I think she's the gray, like tothe T.
She is morally gray, as morallygray as you can get.
Gina Marie Rodriguez (12:55):
I really love how you tied that in for
what Jenna said earlier.
But you just said something.
You said intent versus impact.
Right, that I'm really latchingon to because, while I haven't
seen the show in God knows howmany years, we're going to
pretend that I'm super young.
It's, I think, a really great.
(13:16):
I don't know a really conciseway of describing the show.
Intent versus impact is likethe entire takeaway for me.
Not that I'm telling ouraudience what they should take
away from this piece, and I dothink that it lends itself right
to a bunch of differentinterpretations.
But Max, your character well,your character is like the polar
(13:38):
opposite of Evelyn, so I'mcurious to hear your take.
But also, Catherine, youmentioned how vulnerable it is
to play the antagonist, whereasMax, you're playing someone who,
the character himself is quitevulnerable.
So I would love to hear how youwork through that as a
(13:59):
performer no-transcript.
Max Miller (14:25):
I also think when dealing with you know the impact
versus intent.
It helps deepen the surfacematerial, especially playing
Adam, because it's very easy todo someone's bad and someone's
good and even as an audiencemember watching something like
(14:48):
that, it's very surface level,as Catherine said.
But especially when you'replaying someone, it kind of
deepens your understanding ofthe character because you can't
go at it.
As you know, I'm thequote-unquote victim in this
situation and that person's thebad person in the scene and we
should play it like that and itallows you to bring your
emotions out when you're reallynot playing it, as biased as
(15:11):
that is.
So it's, it's a lot of fun, butit's challenging in all the
good ways just hearing you guystalk about it, I'm so excited.
Gina Marie Rodriguez (15:18):
but I'm curious because this exists as a
film as well.
I believe your filmcounterparts are Paul Rudd and
Rachel Weisz, who were in theoriginal stage play as well.
Now, actors have very differentviews on the research that they
do when going into a newperformance, so I'm curious has
(15:41):
anyone seen the film version ofthe Shape of Things?
Uchenna Agbu (15:48):
Not yet.
Gina Marie Rodriguez (15:50):
Are you planning on watching?
Uchenna Agbu (15:51):
afterwards.
Oh yes, I have alreadypurchased the DVD.
It's so hard to find online.
But kind of my philosophy withwatching other versions of a
show that you are currentlydoing or about to do shortly put
, don't do it.
I think it's best to wait untilyou know exactly what it is you
want to do with it, and thenit's fun to kind of look at how
(16:14):
yours is the same, how yoursdiffers from what you see in any
other iteration of it.
But I feel like we've gotten toa point where we could watch it
and it would not affect ourperformance, even though we
haven't performed yet.
Catherine Hunt (16:26):
I also felt I was.
I didn't want to be comparingmyself to someone else, which is
that's always what's going tohappen, or just letting that I
don't know.
You want to be as true to youor as true to like you're.
What you're bringing to thetable, you're going to bring
something.
Every actor is going to bringsomething different to a
character.
What you're bringing to thetable, you're going to bring
something.
Every actor is going to bringsomething different to the
(16:47):
character.
Max Miller (16:47):
So just trying to keep it as pure and not in
comparison as possible and Ialmost want to keep it in this
like little bubble of our show.
I've never done the show, I'venever seen it, so the only
understanding I have of evelynis katherine's portrayal and all
the other actors.
So so I kind of like onlyexisting in that understanding
(17:07):
of the show as we're doing itfor now.
I'd love to see it after, but Ikind of like just that world
that we have.
Gina Marie Rodriguez (17:14):
I think that's so important and I happen
to be of the same mind.
But I'm always surprisedbecause actors do have their own
processes and it is differentfor everyone.
I have heard and spoken toactors who like to see how it
was done previously, if they cansee different iterations,
whereas they won't just watchone production, they'll watch a
(17:35):
bunch, if they can find them,and then kind of pick and choose
, which you know may bedifferent than my process, but I
find it fascinating.
So I like to ask, because younever know.
Catherine Hunt (17:46):
I think I watched a trailer of it that
they did in the West end withthe guy from Bridgerton.
I think that was the furthestextent that I was like I need to
see what this looks like.
And then I was like, okay,that's what it looks like,
alrighty, that's good, I'm notgoing to watch beyond that.
So, anyways, he, he was in itand on that.
(18:06):
So anyways he, he was in it.
And I was like, oh, this guy'sin it.
Gina Marie Rodriguez (18:08):
So I think I watched a three minute
trailer, and that was that.
Was that that counts, that'sfine essentially actually so I
did minor, minor research onnilabute himself, because I'm
not familiar with many of hisother shows I I happen to have
known this one from, like I said, many moons ago.
But critics in the past havelabeled Neil deBute's work, or
(18:31):
sometimes himself, misanthropic.
So you know, misanthropic isdisliking the humankind and I'm
curious as to having beenworking on this production now,
how do you respond to that claim?
Do you agree?
Do you disagree?
Do you find the gray in thatstatement?
Uchenna Agbu (18:48):
I think I would agree, but I also think it's
important to take written wordsfrom a playwright and kind of
create a different world aroundit, rather than what the
playwright's personal beliefsmight be, unless they're wild.
But in this case I think thatfirst read of the playwright's
personal beliefs might be,unless they're wild, but in this
case I think that first read ofthe play and maybe some of his
(19:10):
other work, he would be likeyeah, this, this guy doesn't
really like people, like andthat's valid like people aren't
great.
But he writes from such aperspective, in my opinion,
where it's like it feels likeEvelyn is the ultimate evil and
there is no other side to her,which is why I really appreciate
what Catherine's doing with thecharacter and it's like she is
(19:31):
a human being.
She is someone who's capable ofloving other people and being
kind to other people.
Maybe she's not always choosingto do so, but she is a human
and I think that was the mostimportant thing that I was
looking for.
Casting the show is someone whoI thought would show different
sides of this person rather thanjust play it one no, and be
(19:51):
like she's an evil person whohates other people and does bad
things because, like you said,that's boring, that's no fun,
it's.
It's much harder as an audienceto watch something like this
and think, oh, I might be alittle bit similar to her, maybe
I can see her point of view,maybe I can see his point of
view.
Maybe he's evil and she's not.
(20:11):
I think it's really.
It's really hard to read thison a first read and think those
things.
But depending on who you haveperforming it which I'm very
lucky to have these two playingthese two characters it can
really change how you view thestory based on what people do
with it.
Gina Marie Rodriguez (20:28):
That was so well said, I'm a little bit
speechless.
I think that, knowing whoEvelyn is, and'm really
interested to see, catherine,how you are humanizing her.
(20:51):
I mean, she is a human rightand I don't even like using that
term humanizing but we've saidbefore that she is the
antagonist and possibly theultimate evil in this world.
But I haven't seen an exampleof a more empathetic Evelyn and
(21:11):
I'm not necessarily sayingthat's the approach that you're
going for, but I'm intrigued.
Let's say that I am intriguedby everything we've been saying,
and I'm talking a lot now, soI'm going to throw it back to
you.
But, catherine and Max, I'mtalking a lot now, so I'm gonna
throw it back to you.
But, catherine and Max, I wouldlove to hear your take on on
the misanthrope.
Catherine Hunt (21:31):
You know critique yes, yes, sure, right,
like surface level, as you said.
Sure, I got it, maybe, but I, Ipersonally, I just think it's
honest.
Maybe that's what that's morekind of.
What I grabbed to is.
I'm like this feels honest.
I don't know I've done thingsthat I've like stayed up at
(21:51):
night being like I did a badthing.
You know, like I feel likeeveryone has had moments where
they're like, ooh, like I wentinto a morally great place that
I really I shouldn't have goneinto.
You know, like it is human topush the boundaries and go too
far, and so that's where I don'tknow if it's believing mankind
is doomed to be horrible andhurt each other.
(22:13):
I'm just like maybe it's justhonest of our mishaps and
slip-ups and, yes, maybe some ofthem are more severe or
couldn't be prolonged, slip-upsthat aren't just a moment.
But you know, I I think, likeI'm of the belief that, like I
don't know, evil is not likejust born, it's created, and
there's environments that peoplebecome, you know the way they
(22:37):
are in, and so that's kind ofhow I'm approaching her too.
Is I'm like, hey, I don't, Idon't think she's evil.
I mean, I know that that's theway that that's it's written,
but I don't, I don't think sheis, and I also am like
interested in like, okay, sowhat kind of environment would
like produce a person that would, like you know, have these
intentions?
Like like that's what I'minterested in it, you know, um,
(23:00):
because honestly, I'm surethere's someone out there that
has had these thoughts.
You know what I'm saying.
Like I think that he didn't justinvent this concept from the
sky.
Like I'm sure there's somereality in it.
So, you know, grounding intolike all right, like, let's be
like full.
Like this is a real person,like okay, where did she grow up
?
What were her parents like?
(23:20):
Who like who is she friendswith in high school?
Like who, like who is shefriends with in high school?
What like like what?
What led her to this moment?
What happens to her after that?
Like those are all importantquestions for me because it
helps me, like understand thatit's real and it's not just like
I'm just going to be as mean asI can be, like that.
That doesn't feel rewarding.
(23:41):
Um, so, yeah, I think, think hewrites from a place of, yeah,
maybe a bit of I don't even knowthe word.
It's like distaste, disdain forhumanity, a bit of mistrust in
humanity.
But I also think it's honestand there is room in there for
like everyone trips up in thisshow, it's not just one person,
(24:04):
and so I think that that's anequalizing ground of like we are
humans, we trip up, that I like, that we're all on.
That's kind of where I land is.
I'm like we are all.
The imperfection is not justone person, it's everyone.
Everyone falls victim to it,and I'd like to believe they
would get back up as well afterthat, after that scene.
(24:26):
So that's where I'll leave it.
Max Miller (24:29):
Yeah, I kind of I agree with the whole.
Is the playwright writing froma distaste for humanity or more
just portraying something thatcould happen and kind of going,
here you go.
I'm going to steal from my dadhere, but he always, whenever we
talk, he's always saying youknow, he doesn't know if humans
(24:52):
are good or if they're bad, ormaybe they're just self
interested, maybe they just dothings out of selfishness and
that could be good, that youcould do something out of
selfishness that ends up beinggood for another person.
So I don't know exactly if it'sa negative portrayal of people
(25:12):
or if it's just.
You know if you can certainlywalk away with that opinion.
I don't know if I don't thinkthat I walk away with that
opinion after doing the show.
I think I'm kind of.
I like to see how nuanced humanbeings are and how, if someone
does one bad thing or a couplebad things, does that make them
(25:33):
a bad person or does that maketheir actions bad?
So I don't know.
That's what I just take awayfrom it.
Gina Marie Rodriguez (25:40):
I love how philosophical this conversation
has gotten.
And we haven't even seen theshow, right?
I mean, you guys are working onit, but I haven't seen the show
.
And we're already talking aboutall of these really important
ideas of humanity, right?
Because, catherine, what did youjust say that you know you've
pushed the boundaries of, likethe moral gray, and you're right
(26:05):
, I don't necessarily likethinking about it.
I, you know, I don't want tofocus on the bad things that
I've done, but have I absolutelybeen plagued by, you know,
horrible things that I've donefrom 20 years ago?
Yeah, but I mean, that issomething that lives in all of
us and I think that's the beautyof this work of us, and I think
that's the beauty of this work,that it does really force you
(26:27):
to accept that maybe you knowthat I won't say evil, but that
kind of unfortunate nature doeslive within all of us, and
that's I'm just coming back towhat I said before why this show
is heavy.
Right, there's a lot going on,but that's what makes it so
(26:48):
thrilling.
That's I can't I mean, Ishouldn't be like raving about a
show that I haven't seen yet,but like I'm just so excited to
talk about it and I guess I wantto know from you what are you
most excited about.
We've talked about a lot, butwhat are you most excited about?
We've talked about a lot, butwhat are you most excited about
when it comes to bringing thispiece to the public?
Catherine Hunt (27:19):
The audience.
I feel like sorry, max, I justinterrupted you, the audience,
and I want this debate to happen.
As people leave the theater, Iwant them to be like so who's in
the wrong?
People leave the theater.
I want them to be like so who'sin the wrong?
Well, I want you guys to totalk to each other and to
dissect it.
I, like you know I.
It's.
It's not like watching realitytv, but it is the guise of like
you know you.
You feel like you're far enoughremoved from it where you can
debate characters, intentionsand impacts and whatever, and
(27:42):
like so I.
I'm excited for people to justlike come along for the ride,
live for the drama of it andthen debate afterwards like I,
you should be left withquestions, you should be left
being like oh, I don't know who,what, so I'm, I'm excited for
just people to experience it.
Max Miller (28:02):
I'm really excited to hear on stage little gasps
from the audience and littlelike just at certain moments,
because it is you know again,without saying too much, it is a
play that takes you on a ride.
So I almost wish I could listenin on people's thoughts of oh,
this is definitely going tohappen.
(28:23):
Oh, that did not go the way Ithought it would.
So that's what I'm lookingforward to is seeing people,
their views, change throughoutthe play of the different
characters and how they end upreacting to the way the story
goes.
Maybe it goes exactly the waythey thought it would and maybe
(28:44):
it goes in a totally differentdirection.
So I'm really excited for that.
Uchenna Agbu (28:48):
I am in the same line of thinking.
I'm just and usually I'm notreally thinking about the
audience when I'm directing ashow I'm just like what we
create is what we create andthat's where it ends.
But with this show specifically, I'm so excited to sit in the
audience.
I get to sit in the audienceand be with people as they
experience this, because it'sgoing to be weird.
(29:09):
There are parts of this playthat are awkward, there are
parts that are scary, there areparts that are incredibly funny,
and being able to sit next topeople as they experience that,
I think is going to be a lot offun and I just I hope that they
feel like they are right therewith everything that's happening
on stage.
The way this play was written inthe, you know, in the first
couple of pages it says to beperformed without intermission
(29:32):
and without vows, and we're alsodoing it with no house speech,
so it's just lights off.
It all happens in two hourslights back on and everyone goes
home.
So I think that in and ofitself is going to be just a
weird experience.
So I'm just I'm excited to seehow people take that in and how
it affects their understandingand experience of the play.
Max Miller (29:51):
I do, now that Uchenna has brought up that
there's really funny moments.
The most interesting part ofthis whole process has been how
light it feels to perform thisshow, even though there are
certainly darker moments.
I'm having a really good timeand maybe it's the atmosphere
created, but it does.
It is surprisingly, uhinteresting how fun it can feel
(30:16):
and how fun certain scenes feelfor the actors, but also for the
audience.
Catherine Hunt (30:21):
It it, you know, hopefully a couple laughs yeah,
I think it's supposed to belike a little ridiculous, like
just a little like it's pushingit to be like okay, this is a
little ridiculous.
And we also, I feel like duringour first table read um, one of
our stage managers had like Idon't think she'd ever read it
before and she was gasping.
She was like she had such vocalreactions and it was so much
(30:43):
fun to have.
It was just so fun toexperience that together, like
reading it like a drama columnor like a really good
page-turning book.
The plot speaks for itself.
I'm excited for those moments,for people to experience that.
Gina Marie Rodriguez (30:58):
Whether we consider this show a dark
comedy, a dramedy or simply adrama lies in the mind of the
beholder.
As you've heard, this show begsconversation.
You get to decide, and I wouldbe curious to know where you
land.
You can get your tickets andlearn more at feralstudioscom.
If you liked this episode, besure to review, subscribe and
(31:20):
tell your friends.
A transcript of this podcast,links relevant to the story and
more about the arts in NewJersey can be found at
jerseyartscom.
The Jersey Arts Podcast ispresented by Art Pride New
Jersey, advancing a state ofcreativity since 1986.
The show was co-founded by andcurrently supported by, funds
from the New Jersey StateCouncil on the Arts, with
(31:41):
additional support from theNational Endowment for the Arts.
This episode was hosted, editedand produced by me, gina Marie
Rodriguez.
Executive producers are JimAtkinson and Isaac Cernodiez,
and my thanks to today's guests,uchenna Agbu, catherine Hunt
and Max Miller, for their time.
I'm Gina Marie Rodriguez forthe Jersey Arts Podcast.
Thanks for listening.
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