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INTAR PRESENTS
INTAR PRESENTS

Season 1, Episode 7 · 6 months ago

Episode 6 - Unfinished Stories

ABOUT THIS EPISODE

Wrapping up our conversations surrounding INTAR's microteatro festival, we sit down with playwright Mariana Careño and director Brisa Areli Muñoz as they discuss the importance of bringing lost stories back to life.

...intire presents the hell's kitchen arts cord or podcast, a series of discussions with the playwrights and directors from inturs Mekrot theatro play festival in the summer of two thousand and twenty one microt theatro consisted of six plays, all stage within local businesses and inturs neighborhood, upper hell's kitchen. This episode will be hearing director Bisa Adele Munos and playwright Marianna Karre yoking on their process in creating unfinished stories, a play that explores the importance of seeing and learning the stories of those who came before us. Hello to you too. This is the health kitchen arts cord or podcast. I'm your host, Jackie Gean, and I'm very excited to have playwright Marianna Karan joking with us and director Brisa are Al Munos.

PA, PA PA. That's in my enter for everyone's great thank you for coming to int our, Mariana. I know you've been back in New York for a bit now, but welcome back to New York, because last time I saw you we were in La you were out there doing your thing, getting your MFA. So welcome back. We're back within the walls of intur which is are like little like hangout spot. So Welcome, Um, Oh nice, so nice to be home. And Bissa, we have been instagram friends for a while. That's right. I've heard your name in multiple rooms. I've been a fan from afar like. It's very nice to have another rgv person in the same room. Nine, five, six, everybody, we're from the valley, we're here to conquer. Everybody, watch out. And also it's a room full of Mexicans. I know, so that...

...is very exciting. Mexican the HA. Yeah, I love it. It's so good to be here. I'm so glad to be within these in t our walls again. Had you two work together before? No, we have nine. I'm and this is it for some that we meet, I know, and it feels so surreal, you know. It's like we know how this feels, like community, like family, especially in our so the fact that we got to overlap and work together and on this piece and in this way, it all just feels right. My Yanna, I heard that you guys, let the playwrights, got the nate like businesses and organizations, drawn from up like a hat. You didn't get to pick which one you want it? Yeah, yeah, it was pretty much out of a hat, the whole thing. Like, you know, we were assigned a place and a director. I'm pretty much a cast. Okay, great, so the director was also drawn from a hat. I think so. Yes, I think everything was random. How fine, though, it's really surreal to think about just how appropriate the location and where Mariana head lived and the relationship I...

...had with the community partner, like there was some real magic happen. That is amazing, because I was gonna be my next question, like what one of them was it? Did any playwright like try to change organizations to be like well, I really want to work on this one? Nobody. And I was, I think I was the first one that got a place as sign and I already had like every time that, you know, when they when they listed the spaces, I was like okay, and there's when. I can do this one and this one, I can do this one. And I lived in health kitchen for long stretch back in the s when it was hills kitchen, so it was like, Oh, I know all these places, like I really really know all these places. So you were ready. You were just like which one's what are my key ingredient, like what's in my basket? Like, I'm ready to do this chopt like the masters. Yeah, like, okay, what what do I got? What do I got? So you're like strategizing from the beginning. Yeah, Whoa, I don't think I that is fascinated to me, that you're like give me whatever you got, Lou I can. I got a story for all of...

...you. I had the knowledge. You're exaptience. Yeah, the comfortability of health kitchen. Yeah, like one, like I'm weird. So every time that I move the first thing that I do is do research on to who has lived there before and what, like the building specifically, the building specifically when it was built. Who has been living there? Who were these people? Right, and you can get this information. This is public information. You can actually really quest public record from the Housing Authority and from like you can go, like you can do we research on that. So I'm always like looking into stuff like that. Now, I lived in health kitchen like aup while I got like ten and fifteen years ago, but I still remember, and that no, as a true playwright who, if you you you...

...went through your fifteen year old notes to be like yeah, kid, I lived in a building called the lyric on forty six and restaurant row, and then I lived on forty third street and then I lived on fifty seven street, and I was like always collecting little stories from from the buildings and from the place. It's like, you know, I've had to raize about him. Spenshit exactly so without so many stories. Oh my God, tell me tell us one quick one, one quick one. And this one was in their neighborhood and there in the newspaper. I wasn't like I literally probably still have the the clipping somewhere, but it was three room mates, three older guys, and one of them died and the day he died he got his unemployment check and the other two wanted to patch it, but they couldn't because they the guy was dead and they like they they had to bring him in...

...person, so they put him in an office chair like the one you're sitting and they wheeled him over to the check cashing place. Oh my goodness, and they got busted. So they now they have a dead person with them, like that's just the worst. Well, much money could that unemployment I get been to be worth it? They hadn't killed the guy, though, they were friends, for sure, for sure, but and appartently, the stranger sold no money, like so it was like perfect. You know, they were gonna pay for the funeral. So they know, I see, I see, and they are like this check that, you know, needed to be cashed, only the guy was dead. Oh No, baby. So anyway, leaks stories like that like we're abounded in this neighborhood. I'm well, the fifty second project. That's a far more positive story. What a sweet location to get had. have either of you ever worked with the...

Fifty Second Street? Yes, we both have. I loved it. Yeah, I only did it once. You got it, I know. I only did it one around. Yeah, I directed a piece. You wrote a piece. I would know the kid did. Oh, yes, that's right. was working with a nine year old and she she was super shot. She basically cried the whole weekend. I was mortified for she but you know, she got through it and we spend the weekend together and Connecticut and she wrote this beautiful piece about an alien that landed and this girl's house but everything the alien touch caught fire like selfcombusted. So the girls trying to like give them his her dad's shirts, but if he touched the shirts, they would like burst into flames, and it was just so moving. Yeah, my God, to be a child and have that imagination. And now she's...

...an academy award winner and a short I'm sure I do she's but I really hope that she's stick tood good. She was brilliant, that girl. They know that's the reality too, about, you know, these young people in the fifty two street project. is they so understand that all of these young people's brains are just like teeming and exploding with ideas and like if actually given the opportunity to be paired with pro actors, to be paired with pro directors, you know, and like bring their stories to life, they are really, really incredible. Well, I'm sure too that, like write, the professional artists are brought into like, you know, mentor this kid, but I feel like maybe the adults were the ones that leave with more of like one hundred percent a positive outcome. Right, like these kids are like, oh no, I can do it, like thank you for like idears, but to us, but this is mine. But I feel like as artists and as adults, right, like we get to a point where we're like, I'm ageless now, because I don't want to talk about how I'm right. But, like you get to a point where you kind of forget that...

...playfulness and like reality and lack thereof and how everything can exist or not exist. Yeah, like their play to it's like they're you know, their brain also thinks. So like metaphorically, you know, like they're not thinking too hard about why they think what they think. Right, but then, you know, you're talking about this play where like everything combust so it's like what fury is going on inside this young person's body that like anything they touch like explode, right, and there's no ste self doubt as to like no one. Why wouldn't it happened? But that's a thing, though, because I think that that that, you know, we are born with that, like we are born with this idea of like, yeah, I comply curiosity. Yeah, I can talk to God, I can, you know, I can dig a tunnel and and up at the under side of the world, like you can do all these things where you are kid, and then you're conditioned to think that you can't hurt. That's not realistic, that you need to get. You should in the trust. Yeah, should. You shouldn't you shouldn't, and working in theater is like reversing that education correct. Yeah,...

...like it's like no, let's create the impossible. What we can. Whats he not there? That's right. Going into your play, which is titled Unfinished Story, it's such a sweet play. I keep seeing saying sweet, but it's hard not to think of that word when it's, you know, dealing with the fact the second street. Yeah, and then you want me to do it. You know how I write, and I was like, oh no, that's too dared. I was actually very curious for you, Lisa, of the character of Anastasia, or Anastasia, whichever way you prefer, and a Stasi. Yeah, who, when you read the script, did you have like a very clear image as to who that was? Think, you know, I learned a lot from Marianna and understanding what her experience was living in Hell's kitchen, and I think it was interesting when I first read the role of Anastasia, I for whatever reason, like an image...

...in my head came to mind, which is just like this New Yorker and tons of layers but like wearing like a rainbow to to and that was just like what was living in my brain and then, you know, come to find you know, might Anna was very helpful in this process, very helpful to sort of have US understand the environment that she had really understood in her living there in the nighties. And then when we realize, oh, like Anastasia is like these people who spend most of their time on these streets, right, some of them have homes to go back to, some of them don't, and when you think about the hidden stories, not only of Hell's kitchen and the area, but the hidden stories of these people, it really felt like an Assassia was a really magical way to shine light on these people who know the streets, know the community around them. Whether people are paying them any mind is something completely different, right, and I think we see that with Julia. But I just felt, you know, there was also...

...a few really interesting moments when we were Hurst and did some spacing in person, and it was basically like MDIANA's text coming to life in real time, because, you know, we basically had like Anastasia like characters like around us watching as we were spacing, and so we were having conversations with them and they were asking what the piece was about, and then I think at one point, you know, we have on Assassia like using like a wand of bubbles, like as like to sort of embody these stories that are kind of lost in the walls. And then all of a sudden she looks up and and like we see like a pair of balloons that like had gotten caught in a tree. But then right in the middle of a scene when like an ASSASSIA's talking about like the magic, you know, these balloons start like floating towards her hand and she just like grabs the balloons in real time. It's like and it's now part of is it? Of It's now part of it. Yeah, yeah, I've seen in the piece. So there's a lot...

...that I feel like. It's not magic of the walls in the fifty two street. So it's all of the little stories or thoughts that these kids have had because, you know, like I always wonder what happened to imagine our friends. I know that's like stupid. Was No, but you know what, out of US had imagine our friends when we grew up and then eventually they're not there anymore and I'm like where are these people? You know, where do they live? Where do they go? Yeah, know, because they could not have like they were real, so they couldn't just have disappeared, right. So I came, like I have like this idea that everybody's imaginary friends are like sort of like living among us. Yeah, and it's like they're jumping from kid to kids. They're like, Oh, you're too old, right, I'm going to go to this next one. Yeah, I don't like, I'm gonna go to the other on this gotta be people are like, I'm an, that's that's yet I feel that it is one of those people who can see everybody's imaginary friend. Yes, because she herself is an imaginary friend. Yeah, and some weird way. Yeah, and...

...it was like communicating, you know, and like healing wounds that Hulia has, like about her father, right, and like how he spent his time in the disconnected relationship that they had, and so to be able to like treat something that can be really heavy and also hold it in this really light way, I think was like a really beautiful just opportunity, like really beautiful words of money on a rope for this piece. Thank you. Yes, well, I'm very excited to see it. I already purchased my tickets. I'm going to be there on Thursday. Amazing Um and I can't wait to see it. Thank you both for coming. I think this is such a beautiful way to end the conversation, such a light, hopeful note. So thank you, guys. Thank you for having New York. We're back. Thank you for listening to enter presents, the Hell's kitchen arts corridor podcast.

Oh and stay tuned because micro theatro will return soon. For More Info and Intur Theater, you can follow us on Facebook, instagram and twitter, or visit us at Intur Theater Dot Org.

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