The Joan Quinn Profiles

MD: I’m workshopping the full hour right before the NOW Festival at this place called Automata in Chinatown – so we’re rough drafting it – and then at the RECAT, I’m going to put up the best, most polished twenty minutes of it 

JQ: Oh I see – Oh

MD: Yeah

JQ: So they take portions – so there’ll be several people performing the same night? You’ll be doing puppetry – and somebody else will do..

MD: Yeah – there’s three people that night. Carole Kim will and another man [d. Sabela grimes] who does dance and poetry

JQ: Oh that’s fabulous – Isn’t it?

MD: Yeah so you’ll get a little of everything

JQ: But so – you know – like Christo – wrapped buildings 

MD: Right – the flags

JQ: and he did drawings. How do you document what you do?

MD: I take video. And I do a lot of pictures

JQ: Draw?

MD: I draw – yeah

JQ: Because the only way for an artist to get his work out other than that one performance is to have this string of something that shows what you did – right? 

MD: Right – and that’s the cool thing about puppet theatre too – is that it’s intimate and people are all on their cell phones now and it’s digital.

JQ: You mean they’re taking pictures of it? 

MD: No I mean it’s the way we communicate now. But with this, you get to be in the same room. And you get to see the person creating it and it’s tactile – so 

JQ: Do you perform in other kinds of venues than like on a stage?

MD: Yeah – I’ve performed in galleries

JQ: I wondered about that – art galleries…

MD: installations – I would like to do that a little bit more if there’s any curators watching the show

JQ: Because a gallery would be great – wouldn’t it? And then you could have your drawings on the wall

MD: Right – 

JQ: I mean you could sell your art

MD: Objects to sell 

JQ: Objects 

MD: That sounds great – that’s a great idea

JQ: But I think it’s wonderful because it gets what you’re doing out there and it’s a different art form –  totally different art form. We’re not used to that. And you just talk – right there while Grandma’s sitting on your lap? 

MD: I have a bunch of tables and I’m performing behind them and

JQ: You’re performing behind them so you would be just like Grandma right there on your lap? 

MD: Yeah

JQ: And what would Grandma say? And then how do you go to Andrea? 

MD: Well this version of Andrea has a nice stand, so I can leave one and then move to the other. The other ones – we’re like figuring it out right now. Putting velcro in places and planning it out so that somebody’s sitting on a sofa while somebody’s standing.

JQ: What about lighting? 

MD: We’re working with a fabulous lighting designer at REDCAT and then there’s also some practical lights that are on the stage that are on the stage or in – yesterday I was experimenting with a head lamp and then a 

JQ: Oh really…

MD: I was like – Oh I look too much like that seven dwarf – Doc or whatever

JQ: That’s good – Why do you need a director if you’ve written it all? And you’ve done it all?

MD: I really need an outside eye, cause you can’t really see yourself. Like you could see yourself in a monitor but it’s backwards or the mirror, but I love – 

JQ: Who is your director? 

MD: Michele Spears and she’s wonderful. I know her from working on another show called “Wake Up Your Weird”

JQ: Same thing with puppets? 

MD: It’s puppets. It was our friend Leslie Carrara[-Rudolph] who had a children’s show and I know her from the improv world and she’s a director and choreographer, so it’s just great to have an outside eye and she’s also on continuity like she let’s me know if.. 

JQ: So you do need 

MD: like if we said Andrea came there at three o’clock – like you know – she’s good at that 

JQ: Oh I see 

MD: She’s helping clarify the story a little bit

JQ: I see. I see. So you really do need somebody to help you. I didn’t think you would need it since you wrote it all and perform it – that you wouldn’t need an outside eye. Do you do performances without your puppets?

MD: I do – I just did a fun show called “To Whom It May Concern” and it’s when you read letters from people or people you wish you could write letters to

JQ: Did you write a letter? 

MD: I did!

JQ: Who did you wish you could write to?

MD: I wrote to a twenty years ago boyfriend

JQ: You did?

MD: Yeah – I didn’t actually send the letter, but I was like “What happened to you?”

JQ: You didn’t use puppets for that?

MD: No. And the last show I did was called Bride of Wildenstein – The Musical and it was about the cat woman, perhaps you’re friends with her? Jocelyn Wildenstein? No? Good.

JQ: Wildenstein?

MD: Yeah, it was about – who transforms

JQ: Fifty face lifts

MD: So for that one it seemed like masks was a good move

JQ: Did you use?

MD: I used puppets

JQ: Fantastic – did you make them like that?

MD: Well I was her – and I did a live makeup change on stage. I did a song about plastic surgery and did a face change on stage

JQ: Fantastic

MD: And I had other characters be puppets

JQ: So you research all of the things you do

MD: I do – that’s a really big part of it like for this, I looked up every clip on object sexuals – they’re people who fall in love with buildings and statues

JQ: Oh

MD: And other structures

JQ: Big psychosis – huh?

MD: I guess so – but they would say it’s more of a lifestyle or that kind of thing

JQ: Thank you so much

MD: Thank you

JQ: Thanks for watching the Joan Quinn Profiles and Grandma says “bye”. Keep writing to