‘A Fire Inside Her’, Q&A with cast and crew
A Fire Inside Her is an exciting new production from Rosy Coat Productions. An evening of four original monologues, the show centres on women’s unique voices and their journeys forging their own paths in life. Drawing inspiration from a range of sources; from historical female legends, literary heroines, to the contemporary female experience, the production explores the nature of female ambition, self-determination, desire and identity. Through these thoughtful and insightful narratives, it examines themes of love, fantasy, resilience, personal growth and the fears and anxieties that shape women's lives.
The show is written by and stars Sarah Knoepfli, Gerda Juknaite, Chiara Rosanna Krones and Maija Yrjölä, all recent graduates of E15's MA Acting programme. Ahead of the show's run at the Rosemary Branch Theatre, I spoke to the cast and creative team about the inspiration behind these monologues, the themes that connect them and their hopes and ambitions as contemporary theatre-makers.
Questions for company/crew:
1. Tell us a little about the team behind Rosy Coat Productions. Who’s involved, how did the company come about..?
(Chiara): Founding my own production company was something I had been thinking about for a while. There are so many stories running around in my head, and so many ideas I want to see played out on stage, and I’m sure there are many people out there who feel the same! This monologue show, which has always been such a passion project for me since the moment we (the team behind ‘A Fire Inside Her’) first floated the idea, seemed the perfect first, though definitely not last, production for this company.
2. Can you share some more about the creative process behind the show? How did the project come together and what inspired you to create it?
We were all very proud of the monologues we wrote as part of our final East15 showcase, and we all felt like we’d like to do something more with these pieces. We were then inspired by some of our friends from the course, who have done their own brilliant monologue show together, and so the idea for this show was born. We then realised that all our pieces feature a woman choosing her own path, and as soon as we had that red thread running through all our pieces, the show existed, and we knew we had to bring it to life.
3. The production is organised into four monologues, what opportunities does this format offer for storytelling?
Monologue opens up creative possibilities that other formats don’t, at least not as easily. In this format, the audience can see into the character's mind more deeply, for example all the unfiltered thoughts and subtext. The full concentration will be just on one character, which is also challenging for the performer; how to be present 100 %, guide the audience with nuances and have control over carrying the rhythm of the piece, including tension, all by yourself. But oh my, how rewarding it is to build this whole inner world through this format. It offers unique intimacy, vulnerability and the feeling of a secret being told. As a performer and writer, the monologue format gives you room to play with words, the structure and even the logic. Now that there are four monologues, we get four one-of-a-kind perspectives to four different ways to perceive the world.
4. What are the key themes in the show?
Self-determination is one of the main themes of the show. Though all our characters are in very different situations and face very different choices, at the core, all of our pieces deal with the same question: what life do you want to lead? And in the end, without wanting to give away too much, all of these women in our show make the same decision, to go after what they truly want in spite of the consequences, whether they are internal or external.
5. Do you think audiences will connect with the stories being told? What do you want them to come away with?
All our monologues feature at their centre some very human themes, and so we feel confident that audiences will connect with the pieces. Everyone has had to consider at some point where they belong, how they want to live, what it is they truly want, and if they have the confidence and determination to go after it, and these are the questions our characters are also asking. We hope that audiences might recognise themselves in these characters and feel a deep sense of connection, not just to the characters but to humanity at large, because we are all going through these things.
6. As emerging creatives, who or what have been your biggest artistic influences?
For this project specifically, we have all been each other's artistic influences. At some point or other during the creative process, every one of us has struggled with feelings of self-doubt and anxiety, but we only needed to look at each other’s brilliance and immediately felt inspired to push through these feelings and keep going. This community we have built together has been invaluable to all of us.
7. Was there a specific reason for staging this production at The Rosemary Theatre?
We specifically wanted to work with The Rosemary Branch Theatre because it is a women-led business, and has been for 30 years. They have always put an emphasis on telling women’s stories, and so we felt that this would be the perfect venue for our show. And we are incredibly grateful that we get to perform there.
8. Why do audiences need to see this show right now?
This is a great opportunity to hear stories that haven’t been told ever before. It’s unusually fascinating to dive into four different worlds and mindsets in just one night. For the longest time, women’s stories were mostly told by men and through the male gaze. So what makes this show even more special is that these stories are written and performed by women. The world we’re currently living in is in turmoil. Societal values are getting harder and more conservative. In these times, it has been widely questioned whose stories deserve to be told, in which context, and by whom. This show is about taking power into your hands while there’s plenty of room for doubt and vulnerability, and I’m sure everyone can relate to all that. You definitely need to see if you’ve ever faced a change, not knowing how on earth to do that.
9. What are your ambitions for the production beyond this run at The Rosemary Theatre?
We’re hoping to be able to do a second run of this production at some point later this year. We have all grown so fond of our characters and each other’s pieces that we don’t want to say goodbye just yet.
10. What are your ambitions for Rosy Coat Productions?
(Chiara): I’d like this company to continue telling and showing women’s stories. Our ethos is “Theatre by women, for women (and for everyone else)”, so I hope we get to do exactly that, be a space where women’s stories are shown and our voices are heard.
Questions for cast:
1. As graduates of E15's MA Acting programme, how has your training shaped the development of A Fire Inside Her and what has it been like creating your own work after graduating?
Gerda - It was the catalyst for understanding that it is achievable. Part of our course curriculum was writing and performing an original piece. At first it seemed out of reach but as we had no other choice, we did it. And it showed how easy it is to go from an idea to a piece of art, you just need a little discipline.
Sarah - East 15 was the starting point of A Fire Inside Her in many ways, really. Of course, it's what brought us together - we all moved to the UK on our own and with English as a second language. This kind of experience creates strong bonds between people. To be honest, I found life after school very challenging as an artist - it took me a moment to find my marks, and it was incredibly helpful to have that little piece of East 15 to use as a stepping stone to move forward in life post-graduation.
Chiara - East 15 has given me the confidence to trust myself as an artist, to trust that I have a voice and stories worth telling. With the final project they forced us to explore that voice and experiment with creating our own work, which was truly an invaluable experience. The whole monologue show was born from that final project and I know we are not the only ones who have taken their final pieces from East 15 and turned them into full-length shows.
Maija - Well, first of all studying at E15 has given us a shared language and ways to work. During the studies we recognised something profoundly similar in each other which has led to us working together after graduation. It has felt like coming home. A Fire Inside Her is based on the final projects we wrote for our MA Acting studies. We wrote original pieces that were inspired by a character in a novel or a play. Time at E15 was all about finding your inner voice as an artist and to celebrate your uniqueness. There’s no artist like you on this planet. Monologue as a final project was a gentle but also demanding way to explore your artistry as a performer as well as a writer. The pieces we wrote back then form the core of A Fire Inside Her. It felt delicious to go back to this material 2 years later and see how it resonates in my body and mind today.
2. The play covers a broad range of lived female experiences, what did you each have to say and why was it important for you to create a space for these conversations through theatre?
Gerda - It is the disconnect that is created by constant access to online connection. That was what I think we need to talk about. Misplaced passion, obsession and charm with constantly being online, idols and influencers that seem so accessible all the time. Scarlet is the character who misplaces her love and harnesses her search for connection in very wrong ways.
Sarah - I love strong female characters, but I sometimes find them lacking in contrast. For me, contrast in a character is vital because that is the spark that will reveal them fully. I am always fascinated by how a strong character will break and/or react to that breaking. That’s what drew me to Anne Bonny as a character - she is known as this fierce woman and fearless pirate, and I really wanted to put her in a situation where she finds herself vulnerable, and see how she deals with that discomfort.
Chiara - I am a big romantic. I love a cute rom-com, I live for a good romance novel, but I was especially influenced by my time studying Jane Austen. Her works are often belittled, today as well as during her time. They’re seen as “women’s novels” and therefore considered to be of no serious importance - as things made for or enjoyed by women often are! What people tend to overlook however, is that all of Austen’s novels are distinctly feminist pieces, and I wanted to bring some of that energy to my monologue as well. It might look like a rom-com at first glance, but at the core it is definitely a feminist statement – you just need to look below the surface.
Maija - I’ve had numerous experiences with the characters I’ve played in the past where their destinies have shaken my very core and I’ve found it hard to distance myself from those characters. For many times I’ve been thinking how the character would comment about what’s happening to them if they had a voice and will of their own. In this monologue I wanted to explore what it would feel like to be a character in a book while being aware of that; how would it feel to live in lent bodies of actors and to acknowledge that I live the same story over and over again for hundreds of years especially when that story is written entirely by someone else.
3. Monologues demand a unique relationship between the performer on stage and their audience. What drew you to the monologue format? How have you approached building that connection with the audience and what opportunities does a monologue piece offer that a larger ensemble piece does not?
Gerda - Monologue can create as much of a world as dialogue does. The story always has some relationships involved, so as long as you create a presence for them to show up in the audience's imagination, the other characters are there. I chose the monologue format because it is a journey of this one individual and she is in charge of her own fate. Nobody else really influences her as much as her and her own actions.
Sarah - With a monologue, the relationship between the audience and the performer becomes absolutely vital. What makes it interesting to me is that you can make the audience whatever you like, as long as it allows you to connect with them. In my case, the audience become the other character. They become my scene partners, and their reactions (or non-reactions) will fuel me as an actor, which means that every performance has the potential of being completely different, unique, and fundamentally anchored in the present moment.
Chiara - A monologue is a special piece of performance because it automatically reveals so much more of the character. The challenge is to find the balance between what is revealed and what the character still keeps to themselves even though they are seemingly alone, with only the audience to witness their innermost thoughts. Through that aloneness though we can create a special bond between the character and the audience, and it becomes abundantly clear that theatre is always a conversation between performer and audience.
Maija - I don’t know if I would’ve ever dared to write a monologue of my own without training at East 15. For me theatre is all about doing together and creating worlds together, so the thought of building all that just by myself felt rather overwhelming at the beginning. I would not have been afraid if only I knew how fun it would be! Monologue offers a delicious opportunity to dive deeper into the character’s mind. You may play with everything you could think of like rhetoric, physicality or the concept of time - and the audience. It’s a responsibility as well as a privilege to guide the audience through this character’s world. At its best a special bond can be built between the character and the audience.
4. Do you think audiences will connect with the stories being told? What themes/ideas are most relevant in today's world?
Gerda - I think so. That’s the beauty of a monologue show, you don’t have to connect with all of them, but you’ll certainly find something sensitive, funny or just close to heart at least in one of them and that’s all we aim to do. I do believe that some people will find my character ridiculous and a little eccentric but hopefully at least one will be like: I’ve been there.
Sarah - I certainly hope they will. My fundamental belief is that human beings have always been human beings, and we all go through the same emotions in life. You can take a medieval nun and an MMA fighter, and despite their drastically different lives, both will experience joy, anger, longing, grief. In this pretty individualistic society, I think it’s important for people to remember that we are not so different from one another and that we should strive to have empathy for each other.
Chiara - As a performer you always hope that the audience will connect with what you’re doing, and this is no different here. For me personally, if this show inspires just one audience member to be a little nicer to themselves, then the show is already a full success and all the work that has gone into it will have been well worth it.
Maija - I don’t see a reason why audiences would not connect with these pieces. We all have been in situations that can be seen in these monologues. Should we follow the expectations of the society/our family or to follow our own instinct? Is it worth making decisions that can hurt us or the people around us? How do we dare to face the change if there is a possibility to let things be the way they are in a safe, predictable way? I don’t know if there has ever been a time when people would not have been forced to live in a state of uncertainty, but that’s what unites us all. When everything around you might change, you need to be connected to yourself and know who you are.
5. What do you want audiences to come away with?
Gerda - That life is full of mistakes, you’ll do them all the time. So make bold decisions and learn from them. Or not.
Sarah - I would like people to remember: you should keep going, even when you reach that point in life where you thought things would make sense and everything would fall into place, and it turns out that it’s not that easy. Your dreams are worth the fight, and sometimes, just because you’re going through a rough patch doesn’t mean that you’re not where you belong. Keep going.
Chiara - I hope I will leave people with the determination to go after what they want and not stand in their own way. We all have our flaws and insecurities, but we should not let that stand in the way of our own happiness.
Maija - I wish that people could feel comforted and that everything is going to be alright. There’s never just one way to do things so just find the way that feels right for you. Your thoughts matter and even when the world outside might seem to dictate your place and your value in the society, you’re the one who knows yourself the best.
6. What do you see as the key themes running throughout your piece?
Gerda - Aim for something unachievable, determination and misplaced desires that in some cases makes you look obsessive and not right in the mind.
Sarah - The notion of belonging, persistence in the face of adversity, and how you can find - or carve - your place in the world (especially as a woman).
Chiara - Seeing that you yourself can be your own worst enemy when you should be your own strongest supporter. And that love, even unrequited one, is always worth it.
Maija - The importance of finding your own voice against all expectations, courage to make tough decisions for the sake of growth. Sometimes we need to leave something invaluable behind so that we can let in the change we need.
7. What has been the most rewarding or challenging aspect of bringing your story to life?
Gerda - How entertaining it was for me to write and perform it. I love this character. She’s funny in a way that she might not even understand. She is bold and sincere, but sometimes incredibly wrong. And that’s so fun to play with.
Sarah - I think the challenging part and the rewarding part are linked, in the sense that the reward lies where and when the challenge is finally overcome. My biggest challenge is that Anne is a character that is clearly bigger than life, and she demands absolute commitment - otherwise the scene doesn’t work. On the other hand, when you manage to do that and let go completely, she will take over for you.
Chiara - The biggest challenge for me was finding the balance between myself, the character, and the aspects of myself I can bring to the character and the monologue. She and I are very similar in many regards and at times I found it difficult to differentiate her thoughts and her voice from my own when writing the piece. I wanted to make sure I still stay true to her in this monologue, because it is her story I wanted to tell and not my own.
Maija - The most challenging part of the process for me was to find the right angle. The first draft was just basically getting to know the character by just blabbering with no clear structure. It had to be found out why she needed to tell her story right now and also why the audience should care for her. So once the urgency was there the dramaturgy followed right after. What a rewarding feeling it was to be so invested in the character that I couldn’t tell the difference between the character and myself at times. During the writing process I took long walks and just had to start talking out loud as the character. She had so much to say! Many of those things ended up in the final version.
8. Why do audiences need to see this show right now?
Gerda - We are ruled by misplaced desires because we are influenced by everything we observe around us. Why not see how this can manifest? Scarlet will not share any wisdom or tell you a cautionary tale, she will lead you into her chaos and you’ll be able to decide for yourself if she’s obsessed or inspired.
Sarah – Because I think it is always important to get to see things from different perspectives, and apart from us four bringing very different characters to life (within their own very specific circumstances), we are also four writers-performers who are from very different backgrounds. With this show, we bridge our differences in upbringing, languages, and cultures through art and theatre – and I believe that’s a beautiful thing to witness.
Chiara - Right now it feels like the pressure on women to look or act a certain way is increasing again and it is so difficult to remain unaffected by it. I hope this show offers everyone the opportunity to relax from all that, and to remind people (especially the women) in the audience that despite what it may feel like right now, the only way you have to be is like you already are.
Maija - For me this show represents comfort and some kind of oasis. As a woman as well as an artist I sometimes have this feeling of being questioned and restricted in a way that feels like a blast from the past in a negative way. This show offers an escape route from such thoughts. We and our stories matter. If we don’t tell our stories then no one else will.
9. What are your ambitions for the production beyond this run at The Rosemary Theatre?
Gerda - I would love it not to be limited by one run. I want to expand and improve all the time and that’s the same objective with this piece.
Sarah - I am taking my monologue to the Festival du Weekend Prolongé in my hometown in Switzerland, in September. So performing it in the language I grew up in (French), rather than in the language it was created in is going to be interesting, and I’m sure this experience will bring me an even deeper understanding of the piece. So from there, I’d love to bring it back to the UK and keep expanding and building it up.
Chiara - I think we all would like to have at least one more run of this show, because none of us are ready to say goodbye to these characters we have grown to love so much. Maybe we’ll have the opportunity to do a second run at some point later in the year, but we shall see.
Maija - I’m not ready to say final goodbyes to this character, piece and these lovable colleagues. We shall see what is going to happen in the future! I don’t see a reason why we would not perform this show ever again. These stories and characters have already formed their own universe that can expand as much as we want.
10. Looking ahead, what are your long-term ambitions as artists?
Gerda - Be passionate, work on what inspires me and get paid for it. Nothing else brings me that much joy, so to get involved in a passion project and be able to do it full time is my goal. And it’s not only about my written work, I get inspired by other people all the time, so I would be glad to join a team of dedicated creatives.
Sarah - I want to keep creating art and theatre that matters, and most of all I want to spend the next few years finding and carving a place for myself as an artist in this industry and in this world.
Chiara - I want to keep doing this work for as long as I can. Acting is a difficult profession in many ways, but there is nothing more rewarding than seeing the joy you can bring to an audience, and that makes all the difficult aspects so worth it. I couldn’t imagine a life for myself where I don’t get to do this, so I will work as hard as I can to make sure I don’t have to.
Maija - I want to keep acting on theatre stages as long as I possibly can. It’s my way to be a part of our society, explore what it is to be a human and to allow people to feel whatever they need to feel. I think that performing arts among all cultural fields belong to everybody and I can’t wait to work at companies that take productions to remote areas where distances are long and theatres are out of reach. Also I can’t wait to work with more people who are devoted to their craft and passionate about what they’re doing. There’s so much to explore, so many stories to be told and shared.