An excerpt from the opening of Frances and Marybeth has been selected to be read at Theatre IV Mimmo’s Artists Cabaret tonight! I’m really excited to have this piece in front of an audience again. (To be totally honest, I’d say 80% excited, 20% nervous…No matter how confident I am about my work, I always seem to have a lingering nervousness when it comes my words being presented to an audience.) I’ve been asked introduce my piece and it’s development. I only have a few minutes do to this, so the plan is to keep it short. As I’ve been thinking about what the heck I’m going to say to the audience tonight, I thought it might be a good idea to share my full-blown Artist Statement with all of you… (I hope you enjoy this more than the Ontario Arts Council did.)
Artist Statement
Frances and Marybeth has been in development for just under two years. When I began writing this piece my focus was to create a showcase piece for two female characters. As a female artist with a background in acting, I know firsthand that comedy scripts which are driven by real, likeable females characters are few and far between. I felt compelled to write challenging, fun, imperfect, relatable characters for female actresses to really grab hold of and play with every night on stage. What makes this play unique, and what I think the audiences responded very positively to at the New Ideas Festival, is that it’s a smart, modern, female focused, character driven comedy of errors, loaded with snappy dialogue and physical comedy. It’s just plain different from a lot of shows that are being produced at this time. It’s quirky, it’s unusual, it’s ridiculous.
To be totally honest, there was a moment before Act 1 was presented at NIF that I was a little concerned about whether a comedy about two thirty-something women would be embraced by a wide audience. During each show at the festival, I nervously sat in the back row to gain insight on audience’s reaction. I will never forget during the opening night performance, there was a man who looked to be in about his late forties, who was sitting a couple of rows in front of me, who appeared to choking. There was a moment where I thought I should actually go see if he was alright. I then realized, this man was laughing so hard at the story of Frances going to get her ‘lady parts’ checked at the gynaecologist, he was literally gasping for air and slapping his knee. I almost killed a man with laughter. It was the first non sarcastic knee slap that I have ever personally witnessed. I hope it will not be the last. It was then, and this belief was confirmed every show that followed, that I knew that this show would work in a full length format and outside of a festival setting.The main theme of each character having a ‘life moment,’ a moment, where they are suddenly jerked out of their daily routine and must make the choice of whether or not to take control and of their happiness, is universal. Frances and Marybeth grabs hold of these ‘life moments’ and thrusts them into centre stage, inviting the audience to watch each character attempt to paint outside the lines by using metaphors of moustaches, Paint by Numbers and jugs of milk. I told you it was ridiculous. Anyone who has a sibling, who has ever had a broken heart, who has ever been scared of taking a risk, or has ever kissed a man with a fake moustache, can relate to any character in this show.
This show has been workshopped and audience tested. It’s ready for a full production, and to be seen by a large audience. Frances and Marybeth will leave hearts warmed, stomachs sore from laughter and legs flush from some good old-fashioned knee slapping.
Neale Kimmel
Playwright – Frances and Marybeth
