Imagine you’re handed a pile of plays. Hidden among them is the perfect story, waiting to be brought to life. Finding the next great piece for 14th Street’s Studio Theatre is just one of Adrien-Alice Hansel’s many responsibilities. On Tap sat down with Studio’s literary director to talk about her work, the DC theatre scene and what she enjoys doing in the city.
On Tap: What exactly does being a literary director entail on a daily basis?
Adrien-Alice Hansel: I listen to our artistic director tell me the kind of work he wants to be doing in the next season and beyond, and then I reverse-engineer the process to get us there. I find projects to share with our literary committee, who review and discuss the work we’re considering. I have to understand what Studio is and does, and to understand what work is out there – both in the United States and internationally. I learn the work of many different writers and read their past work. Sometimes, we will even commission a play from a writer. I also do marketing and the initial publicity for each play. It’s a big, amazing job.
OT: Any other facets of the job that are particularly interesting?
AAH: I also work as what’s called a dramaturg, which means that for all of the shows of the season, my associate literary director Lauren Halverson [and I] get to know the play really well. [We get] to know the work of the writer and get deep into the world of the play. A piece set in 1838 but written in 1980 will have a different context now than it did in its initial run, and we have to understand that context.
OT: What makes Studio Theatre such a unique space?
AAH: One great thing about Studio is that we have four spaces with 200 or fewer seats. It’s a big operation, but they’re all really intimate spaces so being able to hand that to a writer is an amazing privilege. Plays can speak at their own volume here – it can be quiet, it can be loud, it can be exuberant – and that’s one of the really wonderful and exciting things about my work.
OT: What are you looking for in a play that makes it a good fit for Studio?
AAH: Across the season, we’re looking for range. The kinds of work that we’re drawn to and that work well in our spaces are engaged and immediate. They reflect the contemporary world, and they’re somewhat political. We tend to do plays about people who are engaged in their lives and very affected by the outside world. They’re grappling with big questions. We do both dramas and comedies of character. We’re looking for plays that give you a ride and leave you with things to talk about. Our plays will give you a couple of ideas, a couple of perspectives. You’ll have felt your way through arguments on both sides. The “empathy gymnasium” of the theatre is a piece of what Studio does. You’re going to have fun, and you’re going to be up close with the actors on a journey.
OT: You’ve been at Studio for seven years. How has the DC theatre scene changed in your time there?
AAH: There was and there remains a passion for new work. There have always been great small theatre companies here, and I have definitely seen actors come through and move up. A lot of studios have started commissioning new work. There’s a sense of DC as a place, and theatre [companies] around the city are examining what it means to be in our nation’s capital in such an interesting intersection of different diaspora and communities. Increasingly, I see a lot of theaters engaging with questions of difference and inclusion, working to open the eyes of the mainstream theaters to the talent that is here.
OT: Has Studio changed along with the local scene?
AAH: At Studio, we’re asking aggressive questions about who is and isn’t on our stages and attending our plays – who used to be in our neighborhood and who isn’t here anymore. There’s a lot of work to do, and I think that plays are the best when the audience is different from each other. The thing that happens in theatre that I haven’t seen anywhere else is that when your audience is a mixed group of people, one group’s response to what’s happening onstage can teach the other.
OT: What plays from Studio’s 2018-2019 season are you most excited about?
AAH: Cry It Out [begins November 14] is about parenting. The main characters are these two new moms, and it’s a very, very funny play about how parenting looks different depending on your class. If I Forget [begins September 12] is set in DC in the early 2000s and is about Jewish identity as well as life in DC – and the 14th Street corridor itself. Queen of Basel [begins next March] is set in Miami and is a new version of Miss Julie by August Strindberg. Each of the main characters have a connection to the Caribbean or South America, and it’s about power, race and desire. And finally, there’s another new work called P.Y.G. [begins next April] about a boy band rock star who hires two musicians from a hip-hop group called Petty Young Goons to toughen up his image, all on reality TV. It’s a play about race, appropriation and the consequences of trying to tell your story.
OT: What do you like to do in DC when you’re not working?
AAH: I have two kids so that dictates a lot of my free time. DC is excellent on so many fronts. It doesn’t have the reputation that it should for its art scene. Big, small, culturally specific – it’s all here. As a parent, so much stuff is free, so you can take your kids to see so much and it’s close to nature. I grew up barefoot in back yards and fields. You can do that in Rock Creek Park in small ways or go outside the city easily and do that. Everything from the Kennedy Center to the Atlas [Performing Arts Center] is within reach. And as a side note, the coffee shops here are truly top notch.
OT: Do you like to go see plays by yourself, or do you prefer to go with other people?
AAH: I don’t have a strong preference. But if you go with me, we will definitely talk about it – but only after when we’re in a private place. I prefer to be incognito.
Learn more about Hansel’s work and Studio Theatre’s 2018-2019 season at www.studiotheatre.org.
Studio Theatre: 1501 14th St. NW, DC; 202-332-3300; www.studiotheatre.org