Gillian Britt Interview by Jen Bush
It’s the sweet spot of spooky season with Halloween days away. How fortunate that The Beholden will be rattling the chains of The Chain Theatre. The Beholden concerns Sally, a senior in college, preparing her final show in college – as a writer and director. Her play offers a new take on the Salem Witch Trials.
She and her cast encounter a dark force that is seeking to censor her play and snuff out her fire. Sally and her friends will need magic of their own to fight these otherworldly critics out to bring down more than just the curtain.
We were delighted to have a chat with Gillian Britt, the writer of this wonderfully witty witchy play.
Inspired by a book, Ms. Britt brewed up a tale of women and witches in her artistic cauldron. “I began writing this play about a year after I moved to New York. It was a tumultuous time in my life that had me reminiscing about my college days, when all of my friends lived within a mile of me, and I had time to study theatre all day. Around this time, one of my dear friends from college gave me a book for my birthday called “In Defense of Witches” by Mona Chollet, thus reigniting my obsession with the icon of the witch in the modern day. In previous works, I have explored the power of a woman standing alone, typically in a faraway, mythical land, speaking heightened text. In this work, I wanted to capture the magic of female friendship amongst young women today. I think college is a shaping experience in so many ways, especially for young artists, and this play is a love letter to both the witches who came before me and to all the women who made my college years so special. We were silly, wild, and young together, and I will always be grateful.”
There has been a paradigm shift in the perception of witches. Ms. Britt picked up on this and it informed some of her story. “I have pages of notes on all things Wicca, but my main research for this play concerned witchcraft’s intersection with feminism throughout time. I am hardly the first to connect the dots between the literal persecution of witches throughout history and the subtler, more insidious means our society employs to persecute modern women. In fact, the archetype of the witch as a positive, feminist icon has been on the rise in recent history, especially amongst young people. When writing this play, I wanted to incorporate as much witchy culture as I could, with an emphasis on the way the witch archetype has shifted throughout pop culture history. Astute observers may recognize references to Macbeth, The Crucible, Practical Magic, and everything in between.”
One would think a writer may have the need to change their writing style based on the genre they are writing about. Ms. Britt’s writing style remains consistent regardless of the subject matter. “I don’t think my writing style changes, because I’ve always been drawn to things that are a bit spooky and sad. I find a lot of joy in creating humor and beauty around those darker topics. There are definitely aspects of this piece that are more geared towards a Halloween crowd, but the elements of the work that are “macabre” are there to provoke thought amongst the audience. I think people are going to walk away from the theatre with very different opinions on the play and on which characters were justified in their actions. Even in rehearsal, it’s been astounding to me as a writer to see the myriad of ways this script has been interpreted. I’m excited (and a bit frightened) to see how the public will respond to the work! But I know that no matter how they feel about the characters by the end of the show, they will have so much fun watching the story unfold.”
We wondered how Ms. Britt brings reality to fantastic situations. “To me, it’s a bit like acting with heightened text. People never spoke in iambic pentameter, and yet, Shakespeare’s work rings true even today. The important thing is that the shared human experience is accessible – if artists can create that, audiences will relate to even the most unrealistic situations. I love magical realism, because I think when it’s done well, it actually allows the audience to experience the emotion of the work more easily than with realism alone.”
Scary movies are the most successful film genre. Fortunately, The Beholden has the potential to transfer onto the screen in some form. “I could certainly see “The Beholden” as a film! In my opinion, our society is in desperate need of a new, witchy movie to unite the girlies. As a woman named Gillian born the same year “Practical Magic” came out, I almost consider it my duty. But I think if I were fortunate enough to be granted the opportunity, I would rather extend “The Beholden” into a limited series. The reason being, the way these characters interact with each other is electric, and I would love the chance to further develop their relationships and arcs. The tragedy of writing eight characters you love within a 90-minute play is that the audience gets too little time with them. Plus, college theatre kids are inherently entertaining – as many playwrights before me have already realized, plays about young artists provide endless opportunities for compelling drama.”
Ms. Britt’s innovative theatre company has a bright future. “I have never been as excited about anything as I am about Trapezoid Theatre Co. We are a young, independent production company devoted to creating theatre, film, and other works by and for those who aren’t squares. It’s comprised of Nicholas Kennedy, Lauren McAuliffe, Jim Grant, and myself, and our journey is sure to be filled with our trademark silliness and endless dedication. While we all have distinct styles, I think what brings us together is our shared love of art and our determination to cultivate a place where artists can create without being limited by the typical restraints of the industry. Our next theatrical production will be Under The Ice, by Nicholas Kennedy, in the spring.”
You’re sure to be bewitched by The Beholden! Get your tickets now!
The Beholden
10/26-10/29
The Chain Theatre
312 W. 36th Street, 4th floor
New York, NY 10018
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