Bridesmaids

Editor's Rating: 
4
Average: 4 (1 vote)
Starring: 
Maya Rudolph
Rose Byrne
Kristen Wiig
Melissa McCarthy
Directed By: 
Paul Feig

If you’re thinking of writing this one off as a chick-flick, don’t. The premise, of course, is girly, but all the humor is perfectly unisex, thanks to comedic genius Kristen Wiig.

Opening Date: 
Thu, 2011-07-21
Running Time: 
125
Images: 
Author: 
Wendi Gu

Wendi Gu and Patrick Benjamin chat to the playwright for Twice Removed, which is part of the Closer Studio Series at Esplanade.

You’ve said that you’re a big Alexander McQueen fan, and that he doesn’t like to play it “safe.” Do you think all writers and artists should aspire to do the same?
It depends whether the artists are mature enough to take the risk and take full responsibility for that risk. I believe that great art often comes hand in hand with being risky and being willing to push the way people respond and perceive art. However there are also plenty of examples where artists aren't mature enough to handle the risks they take and this in turn not only has a negative impact on themselves but those involved in the work as well as the audience who receive the work.

You’ve also mentioned in the creative process of writing: Never forget who you are writing for. Who did you have in mind when writing Twice Removed?
My mother—not only a woman but also someone who doesn't frequent theater very often. It was important for me to ensure that I wrote a piece that was relatable and accessible even to non-theater goers. While the play deals with women’s issues I wanted to write a play that can appeal to a diverse group of people and affect them on a number of levels.

Why breasts?
They're so topical! Throughout the ages breasts seem to be a recurring symbol of femininity, virtue and sex appeal and even after decades of equal rights legislation, feminist movements and sexual harassment cases breasts still seem to play a key role in defining a woman's femininity. In an era where getting a breast augmentation is as easy as ordering delivery for dinner I wanted to explore how a modern woman could confront the issue undergoing a full double mastectomy whilst still preserving her integrity and sense of self as a woman throughout the process.

It’s rare for men to write pieces about women. What drove you to do so?
The initial spark that spurred my desire to research and consider the topic further came from a conversation I had with a friend whose aunt had recently under gone a full double mastectomy. Even though I didn’t know his aunt, I remember being so affected by the fact that this woman didn’t have a choice. It was either remove her breasts or die. This led me to consider whether I, in that situation, would remove my own breasts to safeguard myself against cancer potentially developing? Based on the fact that to this day I (and many others) still can’t answer that question, it means that this is an important and relevant topic to be discussed.

Do you think it is unjustifiable for a woman to be viewed as unfeminine?
I think being viewed as feminine or masculine is a dated ideal that society has held on to for too long. Why should a strong woman be perceived as masculine? How does strength actually translate into masculinity? Similarly how does being a sensitive guy translate into him being feminine? Femininity in some parts of the world means being big and curvy and hairy and in other parts it means being super skinny with large breasts and blonde hair. I think a woman should be able to look and feel however she wants and shouldn't have to feel pressured to try and fit the mould society prescribes as being feminine.

Do you think of yourself more as a playwright, actor, or producer? How do these different roles intersect with one another?
Like many artists I choose to wear a few different hats. However, to this day, my first and foremost passion is performing. My work as an actor fuels my work as a playwright and producer.

Are you a feminist?
I believe in equality. As for “feminist” that's a term that seems to get a lot of people in trouble and I'm not taking that risk.

Watch Twice Removed to fully experience Girardi's intuitive prowess.

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Ramesh Meyyappan tells Wendi Gu exactly how he pushes boundaries to recreate a highly intimate tale about escapism.

There is a lot of room for interpretation in Snails and Ketchup. How much do you, as a performer, choose to trust your audience?
I’ve got to trust that the audience will engage with the work. I do think that with my performances, you can’t just sit back and be entertained—if you do, you might miss a detail or two. I don’t want to patronize any audience and spoon feed them. I want them to make their own interpretation of the visual language and range of visual elements used.

You’ve said before that you’d rather be seen as a good artist, rather than a deaf artist [Meyyappan is hearing-impaired.] Do you feel you’ve become appreciated as such? Where do you blur the lines between the two?
I want my work to be judged on merit. I’ve aimed to develop a universal aesthetic that can be judged and enjoyed equally with anything that is produced by a hearing performer.

What are some of the challenges of binding your narrative to aerial choreography? How did you overcome them?
Oh many! After much intense training and learning very simple aerial techniques, I could climb a rope! However, I had to learn how to move from one rope to another in order to suggest movement through a forest. This was a challenge and really did require a great deal more training. I also had to ensure that the characters were still clear, and not just show off techniques.

Since your first performance, your audience has grown and diversified. What do you think accounts for this diversification?
I think the diversification has developed because, in general, theater is adding and experimenting with a new range of styles. Theater makers are realizing that if they combine different elements or styles, they can appeal to a larger audience. To target such an audience, I’m constantly trying to extend and develop my own visual vocabulary to make my work resonate.

Catch Ramesh Meyyappan's work in Snails and Ketchup.

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