"Drumbeats in the Language" by Jeremy Gable

Thu, 03/14/2013

We kick off our Studio X-Hibition New Play Development Series this Monday March 18 at 7:30pm with Bad Monster by Jeremy Gable. Jeremy answered some questions about approaching new work, his writing process, and hearing the “drumbeats in the language.
Join us for all three new plays in the series for just $20. Tickets to the individual plays are $10 each. Our subscribers enjoy free ticket to the series.

Next up: Flesh and Blood by Michael Hollinger on Monday, May 6 at 7pm and A Thousand Kinds of Silence by James Iljames on Monday June 24 at 7pm.

Name: Jeremy Gable

Production: Bad Monster - Studio X-Hibition Series

Past Credits:
Finalist for InterAct’s 20/20 Commission, featured in the PTC@Play Festival, member of The Foundry, former playwright-in-residence for the PDC @ Plays & Players Residency. His work has been seen in Philadelphia, Los Angeles, Washington DC and Twitter.

Career Highlights:
Wrote the first full-length original play to premiere on Twitter. Also wrote the first authorized play about the Internet religious phenomenon Flying Spaghetti Monsterism.

Connections to Philadelphia:
Moved to Philadelphia in 2009. During that time, worked as a playwright with Philadelphia Theatre Company, Plays & Players, Philadelphia Dramatists Center, and Secret Room Theater. As an actor, worked with Luna Theater Company, BCKSEETProductions, GDP Productions and Bright Light Theatre Company.


What themes or topics draw you to this piece in particular?

I’m interested in the way that we use fear as a tool for manipulation. When it comes down to it, it’s actually quite easy to gain control over another human being, and that power, and the ways in which to achieve it, fascinate me. It was also a way for me to revisit the forests of Idaho, which I would drive through in my childhood. I would see the occasional creepy shed off in the distance and wondered what thestory was there. I’m sure it’s not this story, but who knows?

What are you most excited for in tackling this piece?

The rhythms of the piece, getting to hear the drumbeats in the language. I’m also excited to explore the storytelling aspect of the play, to bring an audience into the Grimm-like stories that Lorenzo tells.

What is your preparation process like for this piece?

For this piece, it was reading a lot of fairy tales and doing research on what constitutes a “monster” in various cultures. For Smoky’s dialogue in particular, I listened to the way that small children spoke, the effort that it takes them to complete an entire thought.

What are some of your favorite quotes or line from the piece?

I hope that “People are not food” becomes a catchphrase. As well as being asked to “kite me.”  I would also love for conspiracy videos of the Kyjinn to start appearing on Syfy.

What do you think Exile audiences will gain from this production?

I would hope that the audience would feel the way they do at every Exile show: Not sure what to expect in the moment, and then being left with some interesting questions about our culture and society after the bows.

Why do you think Exile chose to do this work right now?

Well hopefully because there is something in the script that resonated with them. In the 21st century,issues of privacy and surveillance have been increasing, and the rise of 24-hour news networks have made the language of our culture one of hyperbole, hypothesis and fear.

Why should people come see this show?

It’s a story told with urgency, humor and fear. It should make for a pretty thrilling night of theatre.

What’s the best part of your job?

I love the collaborative process. The first phase of playwriting is such a solitary experience that I love getting to release the play into the wild and let it roll around with a group of talented people. That’s when the story truly takes shape.

What thought runs through your mind after every performance?

“Who needs a drink? This guy!”