Welcome back, everyone, to a fantastic new Whisper in the Wings from Stage Whisper.We are so excited about the show that we get to share with you today, and we are so excited to be welcoming on two amazing artists to talk about this.
Joining us today, we have the playwright, actor, and co-artistic director, Emile Aslan Lashani, and the director and co-artistic director, Moshi Henderson. They joined us today to talk about Between Us Theatre Company's presentation of Egg.
This is playing November 12th, 16th, 19th, and 23rd at The Tank.And you can get your tickets and more information by visiting thetanknyc.org. very excited to learn more about this great piece and to speak with our wonderful guest.
So let's go ahead and welcome on our guest Amil Moshi.Welcome into Whisper in the Wings from Stage Whisper.I'm thrilled that both of you are joining us today and I can't wait to talk more about the piece you have here, Egg.
So Amil, let's start with you as the playwright.Can you tell us a little bit about what this show is about?
For sure.The show is about a post-apocalyptic future.There's four survivors, a group that we follow, and they take shelter in a cave.Most of the, well, all the action of the play is set in that cave.
And in that cave, while looking for resources, they find something impossible.They find a gigantic egg, bigger than, almost as big as a kid.
and protecting said egg, a little girl saying that this egg is the next step of human evolution and that these four are the last humans on earth.The rest of the play is them dealing with that information.
And that's, I think that's, that's my elevator pitch.It's a long elevator ride.
That's a fascinating story.So what inspired you to pen the piece?
images in my mind, and then I developed it from there.I had this image of a little girl clutching a huge egg, and I questioned, who's that girl?Where is she from?
And then I had this man in a disheveled sort of cape, post-apocalyptic poncho cape, covered in dust, in this cave. full of eerie spirals.And I kept exploring where those images came from, how they could relate.
I went from there, and then I picked up the themes, picked up the characters, kept going from there, basically.So it was really strange.It was like, yeah, the image just came first for this one, instead of the theme or the story.
Fascinating.So Moshi, let's come to you, because I would love to know, how is it that you came upon this piece?
So two years ago, Emile was looking for directors to do it at the New York Theater Festival.And I was really excited about how to transfer sci-fi material onto the stage.
And I told Emile about this comic I had seen, because there's spirals mentioned in the play that exist on the walls.And I was telling him about this terrifying comic I saw.What was it?Who's the writer of that, Emile?
Uzumaki, super famous, super good.
where everybody in this comic turned into a swirl.And I was like, oh, this is my inspiration for how I would approach this material on stage.
Because of the limitations of the festival where you don't have time to bring in a set really, you only have three hours in tech, I'm like, let's use
human bodies to create the space, to play with the size of the space, and to create the sounds of the cave.
He really liked that idea, and I brought in Barrett Penrod, my associate director, to lead our ensemble in a Tadashi Suzuki movement, also a Le Bon technique approach, and it just really gave the show
a presence and weight with them being on stage the entire show with our five survivors.
That's how I came in and that's what has me so excited about doing it again is we get to collaborate with so many people and we get to create an environment that these actors get to survive in.
That is amazing.So at the time of this recording, I mean, we are just a little over two weeks away from the piece debuting.What has it been like developing this work, Moshi?
Well, this time, we have more time than we did last time.Last time, I think we put it together in maybe four weeks.This time, I think we've had six, which is such a blessing.And we're going deeper with the text.
We're going deeper with the history of the characters and their relationships, because we already know that the approach to the material, movement-wise, works.Now we're approaching it as we did the first time, but even further as actors should.
Asking how long have we known each other?Where do we come from?What is our relationship to our parents?I mean, the circumstances are so epic, yet as actors, they have the opportunity to relate to it.
Even if they've never been in a post-apocalyptic world, they all know what it is to feel lonely, to experience tragedy, and they get to share their humanity with us on stage in this sci-fi play.And that's just exciting to see.
Have we never been in a post-apocalyptic world?I don't know.Well, I don't know.
Don't put that out in the universe.That is fantastic.Emil, I would like to know from your standpoint as well, because you're also acting in the show.What has it been like developing the piece?
developing the piece as an actor.
Last time it was interesting because I had to slowly shed the skin of playwright into the skin of actor and it happened about a week before it opened and it was a wonderful moment where we were all discussing text and I realized after we were done that I discussed it without
remembering that I wrote it.I was discussing it with everybody else on the same level and I was like oh that's right I wrote this.
So this time it was a lot easier and so it's been challenging because to me my character is very different from me and I have to empathize and find myself digging deep to basically
become this person and the text work we've been doing has been great to flesh them out and make them these lived in circumstances and these lived in people that are no longer kind of these, not archetyped, but these ideas and make them into real people.
It's been wonderful to see and it hits you harder, which I like.Yeah.
I love that.Sticking with you first on this next question, Emil, I'd love to know, is there a particular message or thought you hope that audiences take away from your piece?
Yes.Well, I mean, yes, that's kind of arrogant.People get out of any piece of art to me what they can in relation to their own feelings and their own experiences.
I think art is one of the most powerful reflectors we have because it hits you more in the deeper place, you know, your heart or your emotions rather than your logical senses.
But with Egg, what I would want is it's simply a reflection on who we are as not a species, but who we are as a society, who we are as people, because these four are the last ones.And the play explores that and the play explores that
despite what maybe Elon Musk wants to do or whoever, there is probably going to be a moment when there's going to be only four left or only one left.And it's something that can be very sad or very beautiful or something.
It's the same thing with any ending.And it's a reflection of this, what you want your life to be.What's it for?Those types of reflections.So it's a lot of fun.Bring your wine.
I love it.Moshe, how about you as the director of the piece?Is there a particular thought or message you hope audiences take away?
Well, I certainly agree with the playwright.These are very existential circumstances, but I think we as human beings
maybe not the best of us, but I think the majority of us deal with our own death regularly, the thought of it, and why we do what we do.
I mean, again, whether it's this play or another play, it's all about what we want, and what we'll do to get it, and if it leaves us fulfilled.I mean, I think we strive to be fulfilled, but part of the striving is how we, how that's just life.
And these characters are striving to bottom line survive, but they still are living for one reason or another.So they have to find their purpose here at the end of the world.
That is a lovely thought.That's a really profound thought.Thank you for sharing that.And that all leads to my final question for this first part, which is who are you hoping have access to this piece?
And what I love is both of you are co-artistic directors with the presenting company.So definitely I want to focus a little bit more on that hat as well.So Moshi, why don't we start first with you on that?
Well, our tagline for Between Us Theater Co is Buy Immigrants, For Immigrants.Emil is an immigrant.I'm a first generation immigrant.My mom's from the Philippines.
So what we did with our casting is we really tried to make sure that people knew they were encouraged to come and audition.That we've worked with many artists with our company prior, helping them earn their, which status is it, Emil?Is it?
It's O1, but yeah, it's O1. So really, we just want to collaborate with people who are passionate about the work and who have worked really hard to be here in the States to study this craft.So providing a platform for people to do what they love.
And we have a number of artists who are involved here.Emil can list them all off who are doing just that with this production and here in the States.Yeah.
That is a fabulous, fabulous mission and idea.I love that.Love that.More of this kind of theater.Amil, what about you?Who are you hoping to have access to this?
Well, it's funny, we'll do reverse.LGBTQ plus people, we have a focus on minorities and LGBTQ plus people, people whose voices are not as readily shared as others.And we really want to focus on new plays and find new works and find a way to
get those voices shared, not necessarily my own.I happen to be a playwright and to have these opportunities.
So what I'm trying to do is do what wasn't happening for me when I graduated as much, which is like having places, having tools as an immigrant artist who only has a year to get your status that will help you.
Even if we don't have shows, we can try to bring you in as a director. as a production assistant, as different things to get you in the door, to get you to meet people and to get you the experiences you need.That's for like the behind the scenes.
And for the front of the scenes, as far as immigrant communities are, there's so many.It's New York City.
And every time I tell them about Between Us Theatre Company, they're so excited because there's like, oh, wait, immigrants like me are doing art and they're doing this stuff.
And they always get so excited to see what works these new immigrants can do.And they're not on Broadway for
five hundred dollars which is not like a slight on broadway it's just that it's more affordable and also it's more communitary based and it's also like we don't focus on just one culture.We try really to just integrate how many cultures we can.
And that's who I would like to see there.It's those immigrant families, those people that are not necessarily theater people, but that are community-based, to see those new works.And it's really exciting, because we are getting a few this time.
And we got them last time, but this time as well.And that's what inspires me to continue as well, is to see us reach there.
Well, for the second part of our shows, we love giving our listeners a chance to get to know our guests a little bit better.Pick your brains, if you will.And I'd love to start with our regular first question, which is, what or who inspires you?
What playwrights, composers, or shows have inspired you in the past, or are just some of your favorites?And Moshe, why don't we start first with you on that?
Oh, I'm so ready for this question.I'm really a Sondheim fan through and through.All his works are pretty much my top favorites.Into the Woods, Sweeney Todd, Company, Assassins.
I think he had so much wisdom in his one life and was able to represent so many points of views and create empathy or at least understanding. for why people make the choices they do.When it comes to plays, I really love Terrence McNally.
As a queer playwright myself, I knew Frankie and Johnny, but I didn't know about all the other works he wrote that were just flamboyantly queer for their time.
And right now I'm in scene study working on a Annie Baker play, John, and I just love all the subtext underneath these simple lines and all the pauses, I think,
She's just, it's just so exciting to explore our relationships with all of these writers, composers, playwrights.
That is a wonderful list there and wonderful to hear about this scene set.This is amazing.Emil, what about you?What are, who inspires you?
Oh, so many people.Theater wise, straight playwrights.I always have the same answer.My favorite playwright of modern day that we have right now working is Samuel D. Hunter. I love his work.I've never read or seen a play by him that I didn't like.
He wrote The Whale, that's his most famous achievement, but he can do no wrong for me.My favorite play of all time is Rhinoceros by Ionesco, that's French, but I adore him.
I really like Cyrano, I really like Jean-Louis, I really like Camus, I like all of these, Beckett, all of those classics, those inspire me.They broke convention back then, and to me they are, inspirational.Laurence Blasio as well is fantastic.
Because again, I grew up in France, so I don't have the same tackling of theater as Americans do.And I discovered American theater later with Angels in America, which I think is a masterpiece as well. I mean, the hot take.
Musical-wise, Sondheim as well.I mean, a master of language, like musical has not seen yet.And my favorite musical is Cabaret, because I just, I think it's perfect in a lot of ways.And book-wise, I love Stephen King.
That's my, not guilty pleasure, but like, you know, pop culture pleasure.He inspires me a lot.Donald Glover, Tina Fey, Haruki Murakami.Those are, and Maxime Chatham, who nobody knows because he's French. And here we are.
Those are like the biggest ones, you know.There's lots of people that inspire me, lots of artists that I just respect and love what they do.Yeah.
It's a wonderful list there, though.And with some new names on it for us that we're going to definitely have to look into.
Yeah.I'm just reading the new Maxim Chaton, so here you go.Look him up.
Well, let me ask the two of you now, what is your favorite part about working in theater?And Emil, I want to stick with you first on this.
okay my third part about working in theater as an actor i prefer the i prefer theater than film and tv as an artist i prefer film and tv don't tell but as an actor i prefer theater because of just the raw
The raw energy and the live aspect of it that really just allows you to just kind of throw yourself in an arena and live within those circumstances and just kind of let go.I really, really like this.
And the answer that I believe is everybody else's answer, but it's mine for real, is community. What I love the most about working in theatre is how much teamwork it takes and how much it's just really community-based.
It's really much a bunch of scrappy people.Even on Broadway level, as I've worked on a couple, it's very much still a scrappy team of people coming together with an idea and making it. reality.
The power of theater is one of the oldest and one of the most powerful art forms we have still when it comes to storytelling.So I revere it and I love it.
I love that answer.Moshe, what about you?What is your favorite part about working in the theater?
Well, I'm going to tap into that call for imagination.I love how fabric on stage can represent water and then be turned into something more realistic.That's why I prefer theater myself.And then I think for me too, like slowing down.
Theater actually requires us to slow down and we live in such a
a fast-paced world that when you have to slow down with the text, because you think you have ideas of who the characters are and what they mean, but no, you have to listen and then respond.
That's something that makes me really anxious as an actor, but it's something that I'm learning for everybody, especially when I'm working with actors as a director, always strengthens the piece.
So imagination and I suppose listening are why theater are so powerful and important to me to do with other people.
That is a wonderful answer.I love that.I want to take all of that and go into my favorite question to ask guests, which is what is your favorite theater memory?
I have three. I don't really have one.I'm very bad at picking favorite things.Very bad, as per the list of like seven favorite playwrights.
One is when I worked on Broadway, I walked on the stage, or I believe, I can't remember the show, but it was last year or two years ago.It was the show about a pianist.He won a Tony for Best Actor.You know what I'm talking about.
Was it the Sean Hayes play?It was the Sean Hayes play.I don't remember the title of it.But because of my job, I was able to walk on that stage when the theater was empty, but still lit. And I was on a Broadway stage, and that felt great.
But it's not really, like, related to me.Yes, that's it.That's it.Thank you, Andrew.Good night, Oscar.And then when I was the Phantom, I was the Phantom of the Opera on tour in Turkey.
And just being in that costume and stepping on a stage in front of, like, teens and children and things like that, because it was to help them discover musicals in English.
And then having, like, a row of children quiet down because of the show and then come to me afterwards. you know, trying to trying to grab at you and go like, Oh my God, it's the Phantom.That was cool.
And then my first musical here and first play here that I saw was in Texas, actually in Austin, where I had my BFA, St.Edward's University.Shout out.It was Merrily We Roll Along, which for 10 years now, I've said it's Sondheim's best.
Nobody believed me until this year.And seeing that for the first time and then being in To Kill a Mockingbird really were my favorite memories.There you go. Long story.
Wonderful.Those are wonderful though.Thank you so much for sharing those.Of course.Moshe, what about you?
It is such an odd, it's not even an odd question.It's a familiar question, but I've been asked this recently before and it, I can't associate it with this particular moment or play.It's just,
in post, like I think about the lyrics Sondheim wrote, like shows I've seen where I've welled up, like Merrily, Merrily is one of them.
And just how with time, as you get older and the lyrics you're familiar with, the scripts, the words and the relationships, how they actually deepen with you in life and give you perspective because you don't
You cannot truly experience every moment of the play in the moment.They sit with you.And when I get to have that time and a realization in private, out of circumstance, that's been what I treasure.Actually, can I change my answer?
Yeah. I've always wanted to be an actress since I was like eight or nine, and a director and a writer and all that stuff.And my first ever show was at 10 in my school.
And stepping out in that theater and then having people after I was done going, hey, you're really good at this theater stuff, maybe you should do it, was a very beautiful experience.
I think that I don't, I hadn't thought of this in years, but I remembered it as Moshi was speaking.And so that's my answer now.Cut the rest.That's the real.
Fabulous.Thank you both so much for those wonderful memories.As we wrap things up, I would love to know, do either of you have any other projects or productions coming on the pipeline that we might be able to plug for you?
Yes, actually.I have another show at The Tank right after in December.It is for the Humanitarian Festival, I believe.I'm still working on the dates, but it's only going to be a short play this time.It's going to be called Axis Denied.
It's had a production before at The Chain, and now it's showing up at The Tank for this festival.It's in December, and it's going to be on our website and on Instagram anyway.
But yeah, that's coming up right after Egg, so no time, no rest for the weekend.
And then for me, I got to develop about two months ago my first play, Velvet Rage, a queer-ass play that has similar themes to Velvet Rage, a famous book.
But developing that further and making it into a musical with our production manager, who's currently attached to Egg Sac Latino.So I'm really excited about that.
So some great things coming down the pipeline for both of you and a great lead into my final question, which is, if our listeners would like more information about Egg or about either of you, maybe they'd like to reach out to you, how can they do so?
Moshi at MoshiHenderson.com.That's Moshi, spelled M-O-S-H-E.Or on Instagram at MoshiLikeYoshi, with an I. And for me, I have to do two things before.
I have to shout out Bruna, Francesca, and Valentin as our immigrants in this show.And also because Valentin will kill me if I don't say that Suffs right now is fantastic and is closing in January. So go check it out.It's not a paid promotion.
I just really like that show.And Outsiders is amazing.Go check it out.And for me, you can see me at amirleshani.com.I think my name will be in the title somewhere.You can follow us at betweenustheaterco.org. or betweenus__theatreco on Instagram.
And my Instagram is very hard to pronounce, so just type Emile Lacheney on Instagram and you'll find me.I don't know if there's a picture of me available, but I exist.You'll see me.I have a mustache.
It's Chinela Aslan, but I am not gonna... I hate when people spell things in podcasts.
Wonderful.Well, Emil, Moshi, thank you both so much for taking the time to speak with me today and for sharing this amazing piece.I am thrilled about it.I'm so thrilled about it.So thank you both so much for taking the time to speak with me today.
Oh, thank you, Andrew.Thank you so much for having us.Thank you for the questions.
My guests today have been two incredible artists, the playwright, actor, and co-artistic director, Amil Aslan Lashani, and the director and co-artistic director, Moshi Henderson.
They both joined us to talk about Between Us Theater Company's presentation of Egg.This is playing November 12th, 16th, 19th, and 23rd at the Tank, and you can get your tickets and more information by visiting thetanknyc.org.
We also have some contact information for our guests, which we've posted in our episode description, as well as on our social media posts.But head to thetanknyc.org now.Get your tickets for this fantastic new work.
Once again, it's AG playing November 12th, 16th, 19th, and 23rd. And we wanna add for our American listeners that election day is November 5th.Make sure you are registered to vote, have a plan to cast your ballot and do your democratic duty.
You can find out how and where you can register to vote and cast your ballot by visiting vote.gov.The future demands that we fight for it now.So until next time, I'm Andrew Cortez reminding you to turn off your cell phones, unwrap your candies,
and keep talking about the theater in a stage whisper.
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