![]() ![]() It was weird to rehearse in a big room like this because you couldn't really get the sense of crawling up the walls.The Keen Company has announced that Obie winner Ana Reeder will star in its upcoming production of When It’s You, a world premiere by Courtney Baron with direction by artistic director Jonathan Silverstein.īaron’s new solo play was developed in the Keen Company’s Playwrights Lab, marking the theatre company’s first lab-to-stage production. It evokes in you the actual physical experience that these women are having. AR: Me too, and that's partly why the set is so great. Even just stepping on the set now, I get nauseous and feel anxiety. It was frustrating in rehearsal, actually, a little bit because you can't get out of it unless they pull out the balcony. TM: What is it like working on that set? JS: There are so many ways to describe it. If you don't trust the other person completely, I don't think you can truly explore this play. It was from the very beginning - we knew from the beginning it was the two of us. Ana's the kind of actress who's immediately there, and I trust her completely. It's not that we're intimate with each other in a way that sisters weren't normally. We get all of our love and touch and ups and downs and tactile feelings from each other. What was it like for you as actors getting to know each other through the rehearsal process as you delve into your characters? JS: I think because Claire and Solange only have each other in their lives, the traditional boundaries of sisters don't exist with us. TM: Claire and Solange have such an intimate relationship as sisters. The play is like a house of mirrors, but it's also based on two sisters who really lived that way. When she claims that the milkman is raping us in the garret, suddenly that's happened, and it's a terrible truth. Anything that they say (even when it changes) is fact. It's almost like their fantasy is their reality. TM: Was it challenging to map out the reality from the fantasy? AR: It is challenging because everything is so real to them. There's definitely some development, but they're the same people they were in the beginning. And I think we did discover a little bit that our characters are cyclical. We sort of found the beginning, middle, and end by playing. We desperately want to be free, and we want to free each other. Anything in the play could be of our imagination, so we decided that was true. The big difference is they sent these letters to the police, and Monsieur was arrested this morning. Did you talk with Jesse Berger about this arc? JEANINE SERRALLES: We definitely talked about why today is different from any other day in terms of the games they play. TM: There's such a stark contrast between the games they play in the beginning and the end of the play. Did you make an effort to focus on the comedic elements? ANA REEDER: I think that the humor is just a natural extension of the whimsy of their play and how seriously they take it - how extreme their expression is and their fantasy of how they might be. THEATERMANIA: The beginning of the play is much funnier than I remember. TheaterMania recently sat down with Reeder and Serralles to peel back the layers of their intricately drawn performances. Smith-Cameron) in a power play that becomes all too real for comfort. On Dane Laffrey's masterfully conceived set - as beautifully ornate as it is confining - the women wile away their days creating elaborate fantasies where they alternate stepping into the shoes of their demanding mistress (played by J. Actresses Jeanine Serralles and Ana Reeder play Claire and Solange, two sisters trapped in a life of servitude, in Jesse Berger's bone-chilling revival of Jean Genet's The Maids, now being presented by the Red Bull Theater Company at the Theatre at St. ![]()
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