Amelia McConville speaks to Jessica Aquila Cymerman, director of the Irish Premiere of Neil LaBute’s Reasons To Be Pretty, which runs in Smock Alley Theatre from 13th – 17th December. Tickets can be purchased here.
What is Reasons To Be Pretty about?
Thematically speaking it’s about beauty, about our preconceptions of beauty, and how we judge people based on their appearance. It’s an exploration of how we have these preconceived ideas about other people and also how we see people as mirrors for ourselves. These characters in the play see the other characters as mirrors of themselves, and use them to validate themselves: are they on the right path, are they pretty enough, etc?
You studied and worked in New York and LA before coming to Europe. What brought you to present this play in Ireland?
Although I really love Ireland, I actually studied in a conservatory in Scotland. I did my Masters there, and I found out about that program while doing a my year abroad as an undergraduate. I actually saw a National Theatre of Scotland production of Peter Pan when I was in London in 2009, and I thought that if that was what Scotland was doing then I wanted to be a part of it! I live in Ireland now, I moved here in June. This is my first production here.
My producing partner and I, who is also playing Greg in the show, have always loved this play. It suddenly became a lot more important this year. How we speak to each other became so important and considering the huge mistake my country made during this election, this play became globally relatable. The people portrayed in this play are from a particular socio-economic background that probably would have voted for Trump, they’re the “forgotten class”. They are angry for some nondescript reason which has to do with their place in the world, and they think that any sort of radical change will help, not knowing of course that they in fact are making things worse for themselves, by voting for someone who is part of the 1%! Suddenly, Americans have some explaining to do, so this show offers a way for them to tell their own story.
Do you think this play will help people understand the complex issues of the recent election from both sides?
Yes! Perhaps it will even aid empathy – not that I’m advocating being in favour of the ideals that led people to vote for Trump, but perhaps it will help people understand both sides so that this kind of mistake doesn’t happen again. So people are not so marginalised, so that they are more included.
Has Neil LaBute been involved with the production?
He’s been so supportive about this production! We’ve been in discussion with him about any questions we have about the text. This play has never been put on in Ireland until now, but Neil has a connection with Ireland: he premiered his play Wrecks here with Ed Harris in Cork. He loves the UK as well, he was a resident writer at the Royal Court when he was training.
How are you finding Ireland and Irish theatre?
Being American and living in Ireland, I’m obviously finding a lot of cultural differences. But the things we can relate on are these big important ideas. This play is full of huge ideas – it’s a chance to open a dialogue about them, within a different culture. It’s really been a transcultural exploration!
I’ve noticed that in Irish theatre, there’s a real desire to dive straight in, which is really inspiring. I am constantly seeing experimental theatre happening, risks being taken, with people totally unafraid to present their work.
I saw A Girl Is A Half Formed Thing last year, and it floored me, it was gorgeous. It exemplified this capacity to play with form, playing with the idea of a woman’s experience, along with the whole idea of challenging what’s come before. I love the works of so many Irish companies: Druid, Rough Magic, Blue Raincoat – to name but a few.
Who are your main directorial influences, and do you have any favourite Irish dramatists?
I saw The Seagull by Ian Rickson – it was the show that made me want to be a director! My particular directing style is very tied into the text: I always start with the text. To me, that production dove into exactly what the author was trying to say, and every aspect of the production reflected that!
Anything that comments on society really resounds with me. I love Ivo Van Hove and what he’s been doing recently. I also draw influence from Rachel Chavkin who works in devising and has a musical on Broadway at the moment. Those people who can change my perspective on the world through their interpretation of a play – if I have learned something when I leave the theatre then it’s been a successful show.
In terms of Irish influences or favourites, Martin McDonagh has always been a favourite of mine: his work opened up worlds for me, showed me that you could laugh at horror! I’ve always loved Brian Friel, I read Translations when I was in college and it had a huge effect on me. Also, Beckett’s Endgame. These are all texts that stay with you, they just haunt you.
Has the production been changed for an Irish audience at all?
We have been faithful to the text, so the actors are playing American so that all the American references do make sense, but that being said, the play is probably a lot quieter than it would’ve been than if it was being performed by Americans. There’s something more thoughtful about it: Irish people don’t have a problem with pregnant silences! Americans are hugely uncomfortable with silences. My production team are actually all Irish, and putting the show on here really inspired me to embrace the awkward silences, and explore how we can let a moment hang. These characters work nights in a factory: how boring and quiet it must be! And all of these emotions just stir under the surface, and that for me is something uniquely Irish that the actors brought to the table, and that actually taught me something. It’s really fun to play with that, because I think if I’d been doing this in America, perhaps the problems between the characters would have been solved a lot quicker!
