Interview: Susan Chenet on DINGLEBERRIES

Now streaming on demand on BroadwayWorld Events, DINGLEBERRIES by Susan Chenet and produced by Interrobang Theatre Project. The world premiere show tells the story of Jonie, a middle school theatre teacher, standing at the threshold of her playwriting dreams when a regional company selects her new, avant-garde work to debut.

Rehearsals seem to be going smoothly until the day before previews when she receives a video call from the artistic director. What happens next would be funny if it weren't so sad. This show is based on actual events, and we were thrilled to sit down with playwright Susan Chenet to learn more about this production.

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Tell us about the show - what was the genesis behind its creation?

I was contacted by Georgette Verdin, the Artistic Director of Interrobang Theatre, in early December 2020, to see if I was interested in writing a new virtual play for the virtual space. With the COVID-19 numbers soaring and facing Christmas alone, I couldn't think of anything that I would rather do. I had an idea about which to write, so I went for it! The fast paced nature of everything happening via Zoom or FaceTime played well with my natural writing style. I loved it! I didn't know where the ride would take me, but, boy, did I love the ride.

The inspiration for DINGLEBERRIES stems from a college experience while I was working on my MFA in playwriting. I was thrilled to have my university select my avant-garde script for a mainstage production, and I was asked to stay away from the rehearsal process for two weeks. When I was finally able to join the rehearsals, I was shocked to see what the director had done to my script. I didn't see the changes all at once; they were unveiled to me over a series of days. I was in constant contact with my major professor asking what to do since the director was also a student and avoided me at every turn. In DINGLEBERRIES, all of the changes that the director did to my script are true with some embellishment to heighten the comedy. The accelerated speed of the virtual space, I believe lends itself to how I felt the two weeks before the play opened. I didn't have much time to feel--I just had time to react. The confusion of it all was heartbreaking, and I felt alone. I didn't pull the play, although in hindsight I probably should have. The play was up for the American College Theatre Festival playwriting award. When I met with the new playwriting adjudicators, who read the play weeks before they saw it, their first question to me was, "What the hell happened?" I told them the story, and they fought for me during the committee meeting to choose the best new play of the region. But because the production was such a departure from the written work, I didn't win. The play did not move onto the national competition.

A year later, another one of my scripts was chosen for my university's mainstage season. This play was more traditional, and the director remained true to my intentions. The production experience was a pleasant one, and the audience's response was very good. But when I met with the same new play adjudicators as the previous year, they wanted my avant-garde style back. This time their first question to me was, "Where's your voice?" I felt as if I had been slapped.

The good news: Four full-scripts were created from this one experience--DINGLEBERRIES included.

How has your approach to the work shifted in creating something to be streamed as opposed to in front of an in-person audience?

I don't think my approach to the streaming world shifted that much in my writing. Having the actors pop in and out immediately via the virtual space only enhanced the fun of the script. However, I know that the director, actors, and creative staff had to think "outside the box" to make this play work in the film format. The technical issues were immense, but the outcome is fantastic. I don't know how Georgette did it--I don't think she slept for 6 weeks--but she did it. DINGLEBERRIES is truly a hybrid creation bridging live theatre and film. When my brother watched the premiere, he thought he was watching a live production!

Did anything unexpected happen during the creation process?

Unexpected-no; Exciting-yes!!! I was able to attend most of the rehearsals via Zoom with the actors who were creating from all over the United States. To watch this process come together as a cohesive whole was invigorating! Even when the world shut down because of this pandemic, art was still being created, and I think because of all the world's challenges, the artists shined that much more. Theatre can be created in Chicago yet the entire world can come and watch the play together. COVID has changed the artistic process for the better; change is good; and this crazy ride all of us have been on only makes the creative spirit grow.

What should audiences expect when they tune in? Why should they tune in?

Don't blink, because you'll miss a lot! DINGLEBERRIES is quick and funny. The acting is brilliant!!! These actors bring everything to life, and Georgette made sure the playwright's intentions were true. I'm hoping that Jonie's experiences make you stop and think about a person's individual voice and how precious that is. We're living in a fragile world but fragility should make us stronger. Fight for truth and don't lose yourself along the way. We're all on this crazy ride together and sometimes you just gotta laugh!

Get your tickets to DINGLEBERRIES now streaming on demand at BroadwayWorld Events!

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