I Wanna Fucking Tear You Apart is the latest project of Studio R&D, Studio Theatre's new works program. Developing new plays brings a particular set of opportunities and challenges, and apprentice Muslima Musawwir spoke to playwright and director Morgan Gould on what the process has been like so far.
Two of Studio's core values are “company” and “collaboration”. Can you speak to these values in your work?
One of the things I am proudest about this production already is that two of my company members—Anna O'Donoghue and Tommy Heleringer—from my small indie company in New York, Morgan Gould & Friends, are coming with me to play two of the roles in the show. To me, theatre is collaboration. I cannot do anything by myself. The very definition is, you need a thing to do, a person to do it, and a person to watch it. My company members have been in the trenches with me. They believed in me when I couldn't anymore. I can't wait for DC to see these two, combined with the powerhouse Nicole Spiezio, into our own new small-c company for this show.
What is the value of having a play that you wrote and directing produced at a theatre like Studio?
This is my life's work. It is very, very meaningful for me to have anyone say they will help me in that pursuit. I keep having all these emotional moments. The first paycheck I ever got for writing a play came from Studio a few weeks ago and I cried. When I walked into the theatre for the first time, I was with [Associate Artistic Director] Matt Torney and I had to put my sunglasses on even though it wasn't bright because I started to cry. I saw all the people at their desks—and I have worked at so many theatres as an administrator—SO MANY—and I know that they all probably have their own artistic dreams and lives and here they are making graphics and writing copy and writing grants and tweeting about my play.
What excites you most about working with Studio’s team and artists on I Wanna Fucking Tear You Apart?
First of all that there's even a "team" is the exciting part...NO ONE AT STUDIO THEATRE HAS SAID NO TO ANYTHING I HAVE ASKED FOR. It's insane. I was all prepared for like "THE MAN" and instead I got the most supportive people ever...I never thought I would have support to make my work. I thought I would always be making plays for no money in tiny basements. To have the support of any theatre is amazing. But to have support of Studio is even crazier. They're like the coolest theatre. When I tell people in New York, they're all like, "WAIT. YOUR FIRST PRODUCTION IS AT STUDIO??!? Are you KIDDING???"
It's so wonderful to be so supported, to know if I need something, I can ask one of like 30 people and get a response. I'm terrified and exhilarated to have so many people's day hang in my hands. So basically, I waffle between intense gratitude and epic narcissism, as is my general way. I wish every artist the same experience. I think it's important to feel both ways. In awe and full of yourself. I have a job to do, and Studio has made me feel like I can do it.
Why should people support new work?
I think all plays are small acts of empathy, of resisting the status quo. In my play, I resist the idea that, because I don't look like a lot of women, I have to be alone. I resist the idea that my value is measured by my romantic relationships. I resist the idea of the sad fat girl and the gay-bashed gay boy. I resist the idea of the tradition fag hag and fruit fly. I resist the simplicity of the way fat women are portrayed in stories. I'm resisting THIS IS US.
How does I Wanna Fucking Tear You Apart relate to the rest of Studio's season?
In Hand to God, I think Rob is resisting some of the values he grew up with in Texas. In Straight White Men, Young Jean is resisting the idea that SWM are inherently evil. In Cloud 9, Churchill beautifully resists gender norms, and the patriarchy that traps us all. None of these plays mean anything on their own. All theatre is about many tiny acts of resistance, building a collective push forward.
—Muslima Musawwir