We're chatting to Briseis After The Black director Dylan Goburn Gray, asking him #FiveQuickQuestions about what we can expect from a play that deals with our fascination with myths and questions why we tell them. The piece will feature Coburn Gray on stage each night, accompanied by a different guest performer "who has no idea what the future holds."
1. In 5 words, can you summarise Briseis After The Black?
Actor follows orders, madness happens.
2. This show is “about women and how often their job is to die.” Why is this such a prevalent theme in fiction and life alike?
Maybe because in both fiction and life, the 'standard' audience is assumed to be male. Women are often featured in the context of a male worldview, and having a woman die is a dramatic event that doesn't depend on you caring about, or understanding her? Meaning we're in this bizarre situation where watching a woman die is a 'standard' experience, but actually being a woman is a 'niche' experience... Hmm. Either way, that's what the writer of the source text was exploring, and we're playing with.
3. Name 3 things you hope an audience member will take away from this show?
Some thought about how we feel like we own artists we like.
Some thought about why we think misery is sexy.
Some thought about what the contract between an actor and an audience is.
4. What has been the best part about making this show? Also what is the most difficult?
Best thing: the form. We've seven deadly people lined up for the show, and I'm looking forward to doing a radically different show with each one of them.
Hardest thing: the form. Structuring things so that however our actor does whatever they do, the play still functions / is interesting. It needs to not be a case of “You're free to say this however, as long as you say it the way we want you to.”
5. Are there any other shows in Tiger Dublin Fringe that you’re looking forward to seeing?