Interview: Virginia Frankovich on Feminism and Her Silo Theatre Directorial Debut

Theatre written by women about how modern women experience the world demands nothing less than a woman at the helm of the production. So, that is exactly what the show kicking off Silo Theatre's 2017 season has. Virginia Frankovich is taking her seat at the theatre company's table of directors, and by tackling Alice Birch's Revolt. She Said. Revolt Again. she is set to make her presence felt.

Ahead of the show's opening during this year's Auckland Fringe Festival, Frankovich shared with us how she strives to build a sense of unity amongst her cast, why Birch's play should matter to us all and whether we should still use the 'F' word.

Revolt is your directorial debut with Silo Theatre – congratulations! But as their directing intern for their 2016 season, you worked with Sophie Roberts on Boys Will Be Boys. How did the experience of working on another confronting piece of feminist theatre shape how you approached the direction of Revolt?

The cast definitely needs to be onboard with the overriding themes and message of the play. As I discovered on Boys Will Be Boys, at the end of the day it is the ideas and the core message at the heart of the play that the performers need to fuel them through the performance. It needs to matter to them. And to the whole creative team. I also discovered the importance of fearlessness and bravery - unfortunately we still live in a world where some people don't like theatre that tackles the issue of women's treatment as inferiors and strives for actions to re-balance this inequality. I learnt that having confidence and bravery in the messages you are putting across is essential.

What is it about Alice Birch's Revolt that makes it an important piece of work for audiences to see?

The play challenges audiences to look at problems that face women in the world right now, it provokes and aims to galvanise audiences into action – declaring that thought is not enough. It is particularly important given the current climate of abortion amendments being signed by boardrooms full of men; domestic violence being decriminalized in Russia; it is important because our current prime minister doesn't know what 'feminism' means. It is not a pretty piece of theatre with a happy ending. When my boyfriend read the script he told me that it was the first play he has read that fundamentally changed how he thought about the world, so there you go. If it can change one person, it might challenge you to rethink the way you live your life. And to me, that is what theatre should do.

The play is essentially an exploration of language, and in particular how language shapes the experience of modern women. What are three words that stand out for you in the script, that you would like to incorporate more often into your vocabulary?

I'm cheating with four words but I couldn't resist:

Dismantle

(My) choice

Overthrow

Had you previously worked with any of the four cast members (Fasitua Amosa, Sophie Henderson, Michelle Ny and Amanda Tito) at all?

Never before. Not one of them. I obviously met some of them in auditions and worked alongside some of them before but I didn't get to see all four actors work together in the same room until the first day of rehearsals. I was a bit anxious about it before we began rehearsals but now they've begun, I'm really thankful for this. None of us come with the baggage of past working relationships - we are all diving in with fresh perspectives of one another and I think that's been great for this play in particular.

How has the cast reacted to the material you're working with?

It's been a rollercoaster ride for them - having to trust in the unknown; to take ownership over developing fully-formed characters; to tap into sometimes quite heightened emotional states and then to be able to let that all go and reveal the artifice of 'acting' via breaking free of any character (the playwright asks that at moments we are unsure whether it is the character or the actor speaking, which is a hard task for many trained actor who are taught to never deviate from character).

How would you describe your style of directing?

I've never thought about my style of directing before. I suppose I come from a background of what thespians would call 'Le Coq' style which focuses on nurturing the creativity of the performer as opposed to a more prescriptive style of direction. It means I am not always giving the actors the answers but provoking them in various ways, asking them questions and allowing them to find characters and discover motives from a place of instinct. Some of the key principles I am focused on are finding 'le jeu' (playfulness) through various games and also achieving 'complicité' - what Le Coq refers to when an acting ensemble have a sense of togetherness and unity. It's great to see the four actors really working together and embracing these techniques and it's been amazing to watch them all come to life when we play in the rehearsal room.

What directorial decision that you've made with this show are you most looking forward to seeing how audiences react to?

Adding a few small elements of audience interaction (nothing too embarrassing, I promise!) should be a bit of fun and create a sense of unpredictability each night. Also really firing up the levels of anarchy, chaos and mess is something I am really looking forward to seeing audiences respond to.

You received the "Best Newcomer" award in the 2012 Fringe Festival, but if you could be the recipient of any award in your lifetime, what would you most like it to be?

Awards are not something I think about to be honest, but I suppose if I had to pick one it would be an award for being an overall cool human being.

You have trained in Melbourne, Paris and London. What made you decide to return here to work?

I moved back to New Zealand for personal reasons but it also turned out to be the best thing for me in a professional sense which was a nice surprise. I'm super happy to be back here and I am super appreciative to Silo for giving me this opportunity to direct at a professional level.

How does New Zealand's theatre scene compare to those you have experienced internationally?

It's a lot more boutique than places like London where general public go out to see something at the theatre on a Friday night. It feels like most of my non-theatre friends only come to shows when I drag them along. I think it can feel rather niche and inaccessible to the general public. Even though places like The Basement are super friendly and inviting, and offer a reasonably priced night out at the theatre. I think there's still a common misconception that it's boring, expensive and somehow equated with high-school studies.

What would you like to see happen in order to grow our country's theatre scene?

More government funding for the development of new New Zealand work. We need to have the support to be able to make new, relevant work that is specific to New Zealand.

Finally, do we still need the word 'feminism'?

Yes.

Revolt. She Said. Revolt Again plays out at The Basement from February 15 - March 11.