“Finding Your Process, Comradery On and Off Stage & Working with Planned Parenthood” In Conversation with actor Mattie Driscoll on Cue6’s DRY LAND at The Assembly Theatre
Interview by Jared Bishop.
We sat down with actor Mattie Driscoll to discuss Cue6 Theatre’s Toronto premiere of Dry Land by Ruby Rae Spiegel. Mattie gets into her experience as a new actor tackling a challenging script, the comradery on and off stage and the show’s partnership with Planned Parenthood. Dry Land is a play about abortion, female friendship and resiliency, on stage now at The Assembly Theatre until September 22nd.
Jared Bishop: What was your impression when you first read the script?
Mattie Driscoll: When I first read the scene we were given for the audition, I was so excited. I was a little too excited. I was like ‘fuck, this is so good!’ This is one of the best scripts I have read maybe ever. It’s very much my style – dark humour and gross and weird and hard to watch a lot of the time. And I am coming from just graduating school from Ryerson where I didn’t have the opportunity to be a part of any shows like that. That’s not the work you are doing in school. Obviously there is a focus on classical work, which is great, but that means, as a young woman, you are playing the ingénue or a not particularly strong female character a lot of the time.
When I read the whole script it furthered my thoughts around that scene. I was just like, ‘it’s so good!’ I am astounded the playwright Ruby Rae Spiegel was only 21 when it was published. I was just really excited when I first read it.
JB: Can you talk about the Planned Parenthood partnership?
MD: Yes, I can speak to it a little. I know for Cue6 that it’s something important for them, that community outreach element. There are talk backs on Thursday nights and what we want the talk backs to be are a conversation around accessibility in Ontario and abortion rights and what that is all looking like. A focus more on that discussion instead of about the play. They are so great, we have had someone from Planned Parenthood come and speak to us because after our very first show we realized the conversations after performances sometimes involve people sharing their own stories. This is great because that’s what we want the play to do but it is a weird position to be in as an actor. To say ‘I hear you’ and to not go to a place of ‘OH, I am so sorry’. That is not how it is handled in the play. It’s coming from a place of ‘It’s ok, she is ok, her life is going to go on’, and not necessarily taking the power away from someone by assuming it was a horrible awful experience for them. We had someone come in from Planned Parenthood to talk about what language to use. They use language like ‘removing a pregnancy’, which I had never heard before. I am learning a lot about something I had thought I was pretty well versed in. I am realizing that there is still a lot to learn in that department. Planned Parenthood Toronto just seems amazing, so we’re excited that those talk backs are happening on Thursdays.
JB: In rehearsal what did you do to build the intimacy needed for the story?
MD: The thing that is super nice is that I am playing alongside my university classmate Veronica Hortiguela. So we had a lot of that level of comfort already, which was so nice. It’s made this process even better because I am working with someone I am super close with. We already had an intimacy there and a shared vocabulary because of school. We were able to work quickly and easily, and we were able to walk home together and talk about it.
In the rehearsal process, I have just loved Jill Harper (director). I think she is so great and she is so smart. Veronica and I always spoke about how she does this cleaver little thing where you think you came up with the brilliant thought but it was her who gracefully lead you there. She is trusting, which is so nice because I don’t feel like I trust myself yet necessarily. I am just coming out of school and figuring it out.
JB: How do you reset yourself between shows?
MD: Oh my god, well, I’m still kind of figuring that out. I am going to keep talking about how this show is different from school. Normally the show would have been done four times or maybe five. I have never run something for this long before, which I love. I get to do a play for this long? It is so fun and nice! So far I walk home, I chill out a little. That’s another thing why I feel grateful to be so close with Veronica because her and I get to debrief and it is important to me that she feels safe and comfortable after because it is just a different show for her than it is for me. I end the show and I am kind of okay, whereas she just had to experience what she did and that is totally different. That requires a different type of comedown. She is still navigating that as well and it is hard to make a judgement on the show when you are in that kind of clouded place. But I think we are good at making a quick joke about it, reminding ourselves that it’s fine, and kind of leaving the play there. I think I am good at leaving it there. I will be curious when people ask me this in a week because we will see how that is going. I just walk home. I try to take some deep breaths.
JB: Who do you think is the intended audience and who do you want to see this show?
MD: I want to just say a general everyone, and I want to say young women. But I feel they are who get it a little more so I want people who don’t get it. We have had conversations and watched interviews with Ruby Rae who say this is often a harder show for men to watch because the blood, for women, isn’t that freaky. It is normal but for men it is a little harder to watch. I do want young women to see this, to see themselves onstage in a way that I haven’t encountered before, but also especially men and people who don’t understand that this is a normal thing, more normal than it ought to be.
I am so curious to hear and see the rest of the run because we have had people leave, people have had to leave in the very first scene because the punches were too much for someone. Obviously we have had a few people leave during the blood. I am curious about what sets people off. We have a device to reset the energy for people but if I was on the other side watching it, I think I would freak out. I would love it as a young woman, I would see this play and say ‘yes, more of this!’ There is something about presenting woman not as fragile and the female body not portrayed as delicate. And I am so grateful for that. Ruby Rae has a note at the beginning of this play and it’s “Harshness is as true to this play as sweetness”, and that has been so fun to play with.
Mattie Driscoll, Veronica Hortiguela, Jonas Trottier, Reanne Spitzer, Tim Walker
Written by: Ruby Rae Spiegel
Directed by: Jill Harper
Producers: Christine Groom, Matt Eger, Joshua Browne
Lighting Designer: Simon Rossiter
Sound Designer: Tim Lindsay
Stage Manager: Hannah MacMillan
Ester is a swimmer trying to stay afloat. Amy is curled up on the locker room floor. Dry Land is a play about abortion, female friendship, and resiliency, and what happens in one high school locker room after everybody’s left.
Dry Land is the first full-length play from American playwright Ruby Rae Spiegel. Spiegel
was only 21 when Dry Land was shortlisted for the Susan Smith Blackburn Prize, and its
premiere production received a five-star review from the New York Times, calling the
play “remarkable… caustic, funny and harrowing.” Dry Land has gone on to receive acclaim across the US, UK and Australia.
The Assembly Theatre – 1479 Queen Street West
Sept 5th – 22nd
Wednesday – Sunday at 8pm