A conversation with Susan Hahn

The Poet.
A conversation with Susan Hahn by Gina Tarullo

“I felt like the bird had come into my life and kept informing me as to what to do next.”
- Susan Hahn, on writing The Scarlet Ibis

You are an experienced poet and this is not your first play. How would you describe The Scarlet Ibis in relation to your body of work?

Susan Hahn: Of all the books I’ve written, The Scarlet Ibis was a complete surprise. I never intended to write it.

It probably – as oddly as it sounds – is my most personal book. And if someone had said to me, “Someday, Susan, you’re going to write a book about a bird and a lady and a magician and it’s going to be your most personal book of poetry,” I would have just looked at them and said, “That’s nuts.”

How did the idea for the book come about?

SH: It happened exactly like it is in the play: I saw a picture of a scarlet ibis in a book and I became enamored by its beauty… I am not a person who goes and looks at birds. I’m not a birdwatcher. I had bought this book Earth From Above – it’s a gorgeous book, and because I loved it so much, I bought the version for children. It was in the children’s version that I saw the scarlet ibis. I remember opening it up and thinking there was something about the bird that just insisted on its appearance.

I decided that I would find out more about the scarlet ibis and consequently, I started doing some research. It became unbelievable to me what I was learning in terms of this bird – the wealth of information and the possibilities to write poems. I always felt like the bird was leading me somewhere.

I never, never imagined writing The Scarlet Ibis until I saw that picture in the book. It was almost like something was happening to me that I wish for every poet – that the muse comes to visit them in such a way that it almost carries them. I really have not had an experience like that – where the intention for the book appeared out of nowhere. It was a very odd, very magical experience. That’s why I added the [bird and lady] tricks.

Had you always intended for this book to be produced for the theater? How did you come to know it could work as a performance?

SH: I had asked one rather accomplished poet to do cover copy for the book and he said no –that he didn’t do that anymore – but he gave me a greater gift because he asked, “Do you realize what a theatrical piece this is?”

… I immediately e-mailed Ann [Filmer] and asked if she would read it as a theatre piece. Suddenly I saw the possibilities. She read it saying she couldn’t get it out of her mind. I knew that was a good sign that she would probably take it to the next level.

16th Street Theater’s production of The Scarlet Ibis incorporates a number of artistic elements, including original music and video. How would you compare this performance to the experience of reading these poems on the page?















SH: This performance of it is like a fully fleshed-out version of the book – it’s so unified, it’s got so many facets to it – it informs the audience so much better.

With the added layer of videography, at first I didn’t quite know where to look. And then I just allowed it in with the music and with the language – and once I embraced it as a whole, then I decided I could look at the entire stage and it’s such a rich experience. As a poet, it’s almost overwhelming to have all that happening; to see the different layers of intention in the language highlighted in such a way.

Would you call this piece autobiographical?

SH: Emotionally, it is. With the publication of The Scarlet Ibis, I think what I did is I took my book Mother in Summer and reinvented it. [Mother in Summer] is a very personal book about losing my mother but I think The Scarlet Ibis takes that subject matter to a much higher level. When I see The Scarlet Ibis, it seems the most accurate way of putting what I wanted to say about the loss. And I am struck by that. I knew that was happening while I was writing the book but I had pushed it out of me and gone on to other things since. And it was only when I saw it staged that it really hit hard.

I think it can be enlarged for anyone about any kind of loss and about how you replace it.
In my case, I had this bird visit me.

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The Scarlet Ibis performs July 24 – August 2, 2008 at 16th Street Theater in Berwyn.

Audience responds to SAINTHOOD and CARLOTTA

Dear Ms Filmer,
I was so moved by Arlene Malinowski's Aiming for Sainthood. It was a beautiful piece of writing and the acting was astonishing. I don't gush, but this show left me speechless. Her story, her energy, her honesty was amazing. I will enjoy coming back to 16th Street Theater. Great job by everyone!!
Grace


Dear Ann,
Another great evening at 16th Street. A terrific show. Our friends were knocked out by the theater, the show, Arlene, and of course, you. They'll definitely be back.
Thanks.

Donna

Ann,
I just wanted you to know how terrific I thought the play "Aiming for
Sainthood" was!!!
Arlene Malinowski's story and acting is awesome!

Mary

Dear Ms. Filmer,

I just wanted to say how much I loved your recent production of Will Dunne’s “The Ascension of Carlotta.” I was talking with my good friend Arlene (Malinowski), and she asked me if I had shared my appreciation with you. I told her that I had wanted to Saturday night but that my courage faltered. Arlene’s mantra—and I love her for this—is that artists love to have their work appreciated by other artists, so I am taking her advice.

I live just down the street on Harlem, and it is nice to finally have a theater in my back yard. And as a working-class boy myself, it was so refreshing to go to a theater dedicated to this kind of work. I had thought that this voice had all but been silenced. (Maybe I am going to the wrong theatres.) Will Dunne’s play presented a range of working-class experiences rather than just presenting a monolithic picture of that experience. It is an insider’s view; I am sure of it. When Romeo—what a great character!—accuses Carlotta of stealing his dream—however small—I felt as if Will Dunne truly knew what he was about. More than anything, I feel, this is the way of things for the children of the working class.

All I wanted to say was, I hope to introduce myself at the next show. I wouldn’t miss Arlene’s show for the world. She also mentioned that you might need people to help out for your summer programming. If you have need of me for anything, please don’t hesitate to write.

Thanks,

Carlo Matos

Talking with solo performer Arlene Malinowski

A conversation with playwright/performer Arlene Malinowski
by Assistant Director Maggie Carlin

Arlene, doing a one-woman show like this is kind of unique. I have to know, how did you come up with this idea and what did you base your ideas off of?

There are two people I have to mention in order to answer this question. The first is Anne Etue. I saw a performance of Tokyo Bound, which Anne Etue directed, and I said, “I want to do that!” Anne became my fairy god mother. Tokyo Bound is a one-woman autobiographical play written and performed by Amy Hill, who was even nominated for an award. So, anyway, I was talking to Anne and telling her about myself and my family and she told me that I had a story to tell and that I needed to tell it. And that’s how I got into autobiography work.

The second person I must mention is Kerry Haynie. He directed my first show and really helped me develop my story. We started out with a sixteen-minute piece and he wanted to know if I could go further and really expand my story. I had been working on some material for about a year but nothing was complete so this forced me to put it together.

I based my ideas on an American Sign Language storytelling style. The characters that I have, their positions, placements and quirks are based on deaf storytelling, which was an easy way to tell my story. There could be no other way to tell my story!

You have kind of already addressed this but who have been your biggest influences over the years and why?

Every storyteller that I have ever seen at the Deaf Club. Oh, and my Dad too. He is an amazing storyteller.

What do you think are you greatest accomplishments thus far?

Holding the vision of being a good daughter, sister, wife and friend. And of course being a good teacher. I have been lucky enough to have a number of careers that have prepared me for the next level and they are all a part of my accomplishments.

You share a lot of personal facts about your life and your families’ lives. How have they reacted to this?

Wow, so many moments are pivotal that people don’t remember! Some things that have meant so much to me, my family will say, “That didn’t happen.” I really believe that reality is truly shaped by who you are and what you see and what’s important to you.

Is there anything else you’d like to share about Theater and the work you’re doing?

I just want to say that the reason I love autobiographical work so much is because as a culture I feel that we don’t know enough about the people around us. We know and connect with the people of “Grey’s Anatomy” or even “Project Runway” but we don’t know our neighbors! Most of us don’t even know the stories of our grandparents! We’re not connecting to each other and in doing so we’re losing ourselves.

I want people to watch my story and think, “I know what that’s like,” not just C.O.D.A.’s (Children Of Deaf Adults) but everyone. I want my story to be a springboard for all of us to share our own stories and make connections.

I really feel that a play is like a molecular structure that can change who you are. I mean, a good play invites you to watch but a GREAT play lets you see the world differently. My goal is to connect the world one story at a time!

Scenic design for AIMING FOR SAINTHOOD

Katie Schweiger's scenic design for AIMING FOR SAINTHOOD. She is building and painting a "false proscenium" to frame Arlene's Malinowski's solo performance. The hanging photos will be abstracted images from Arlene's childhood using the image of Arlene below.

Saintly Arlene

Arlene Malinowski studying up on how to be a saint circa 1967.

I went to a run thru of Arlene's play AIMING FOR SAINTHOOD yesterday at Arlene's place. The script is in great shape and I am just in awe of her storytelling.

She has such a rapport with the audience. Even with just me, Maggie and Ann Boyd sitting there in her kitchen, I was completely pulled into her world.

and man, that woman has some comic timing!

Now, the ramblings of an old man....

This from my friend and artist Fred Burkhart who turns 67 this Sunday. Inspiring words from a man of the earth. Too good to keep to myself. Had to share them with you:

"Recently I've gone to gazing into the sun, about a half hour a day now for the last six months, an ancient practice, safe one hour after sunrise or before sunset, when UV does not exist, as a means of recharging the battery and reducing my need for food, releasing energies to assist in consciousness building and conscious living. The Ancients long ago -- from both East and West -- realized that our energy comes from Breathing and the Sun, and from nothing else. Period. Modern science agrees -- more than 95% of all NUTRIENT required for our bodies comes from the sun and breathing. So why do we require 5% food to sustain us? Because this is what feeds our fears, expectations, apprehensions. Christ was wise enough to point out: "Be not anxious...I have food that ye know not of." But modern day inhabitants of this earth are too busy eating, drinking, drugging and tv-ing to appreciate a method that would reduce all flesh to a combined transparency through which the whole truth might surface.

When I say that I am getting old, it is only young people who tell me, "Ah, Burkhart, old age is all in your mind!" Ha ha... I wonder what these same youth will say in 40 or 50 years, when they too are old. But be assured, my concept of aging is refreshing, not deteriorating: We ALL are the age of this earth from which we are composed, be it a young earth of the religions or the several billions of years old model of the scientists. To realize that we are measured according to a space/time continuum, separated at birth by just few inches from everyone else -- we can still reach out and touch them! -- is to recognize that we are likewise only seconds apart. A relative situation, move closer, move apart, but always remain in the same space'time construct/illusion -- the same age. What I'm saying is we differ only in consciousness, only in our individual images we each carry around of who we are -- our age is always consistent with our earth. I repeat: we are all the precise age of the earth we inhabit. Only a fool would try to argue with eternity or infinity."
---- Fred Burkhart

Happy Birthday Fred

Testimonials

I wanted to say how much I loved "The Ascension of Carlotta"! The entire experience was one that I have shared with my neighbors in hopes that they will enjoy our new Theater as well. Everyone involved with the show should be applauded.
--- Kenneth, subscriber

My mom went to see your PLAY this past weekend and she is RAVING about it how wonderful it is to anyone who will listen....so...Way to Go...my mom is a hard to impress...artist...congrats!
--- Rich

CAST AND CREW OF CARLOTTA TAKE ONE LAST PIC TOGETHER ON CLOSING NIGHT

Hi, Ann . . .
I read the article in today's Tribune and was so excited and happy for you, the actives at the theater, and Berwyn!
Thank you for making such a wonderful contribution to our community!
My friends and I are so looking forward to seeing the play on Saturday!
--- Mary, subscriber


Kathy and I went last night and had a great time! This is a great opportunity for Berwyn!!!! Try it you will like it!!!
--- Mayor Michael O'Connor, subscriber

Congratulations on the great press (again!) on the show and for 16th Street! The show was really wonderful last night; the cast was spot-on. I enjoyed each performance immensely. The writing was particularly sharp and smart...funny, without being over-the-top. I found the story touching and each character had real depth.

I'm amazed at the economy of the set design. It's impressive how much you have going on in this show, but the stage never comes across as crowded, considering the amount of physical space there is. Kudos all around.
--- Maggie, subscriber