Interview with Jason King Jones
Regarding A Number, part of Whistler in the Dark’s Wanted Something celebration of Caryl Churchill’s plays.
[beginning of recording]
Jason 1: Welcome, Jason!
Jason 2.: Thanks, Jason. It’s great to be here.
Jason 1: Great to have you!
Jason 2: Sure thing.
Jason 1: So, tell me, Jason, how did you get hooked up with Whistler?
Jason 2: Well, I, maybe you don’t know this, but I’m a grad student at Boston University in the School of Theatre
Jason 1: Uh huh?
Jason 2. and while I’ve been working on my MFA in Directing, I completed a Certificate in Arts Administration.
Jason 1: Really?
Jason 2: Yeah. But you should talk to Jason 3 about that
Jason 3: Someone call for me?
Jason 1: Hi Jason. Jason over here was talking about your Arts Administration classes and the connection to?
Jason 3: Right. So, for one of those classes, “Individual Fundraising for Nonprofits,” I needed to find a local nonprofit and draft a proposal for a two-year fundraising strategy. Jason and I had seen THE EUROPEANS, and we really dug what Whistler in the Dark was doing artistically. I met with a Meg, realized how cool she was and all the ambitious things she was doing. I wanted to be a part of
Jason 1: Did you pitch any fundraising stuff to Whistler?
Jason 3: Yeah, certainly, but the pitch wasn’t what was important to me to or to Megs 1 through 4. What we found valuable were the questions I was asking that not even Meg 5 had thought of. Also, Jason, you got something out of it, right?
Jason 2: Yeah, I got to know a Meg or two, and learn more about Whistler. I got to see more work that Whistler was doing, and I even got to see Meg on stage–not sure which one that was. One of her came to see a show I directed, and to make a long story short, she asked me to work on A NUMBER.
Jason 1: That’s great. Next question, what’s the rehearsal process been like?
Jason 2: Well, you’ve been there, you can see. It’s been great. The actors have a great respect for each other, they are inventive, honest, and connected. They have an incredible dynamic, and they allow themselves to follow new ideas freely. It’s a dream to work with a cast like this.
Jason 1: Great. So can you tell me? What is A NUMBER about?
Jason 2: Well, that’s a great question, and one that I’ve spoken about extensively with the Dannys and the Marks. There have been some pretty lengthy debates, but I think we’ve finally come to the conclusion that it’s quite simply a play about–
Jason 4: Shut it!
Jason 2: Oh for–! Seriously?
Jason 4: Are you crazy? You’re going to hand Jason a pithy little phrase to prove how clever you are?! Jesus, you’re such an arrogant prick.
Jason 2: Um, this is an interview. it’s being, you know you can’t just
Jason 4: I can’t what? I can’t stop you from making a fool of yourself? Too late on that one, dude
Jason 2: Jason maybe we should find a better time to
Jason 1: Are you talking to me?
Jason 3: No he’s trying to– wait what?
Jason 4: Look, you can’t possibly pretend to think you’re qualified to answer a question like that for an interview?
Jason 2: Why not? Isn’t it my job to know the answer to that? If I don’t know what the play is about how the hell am I going to direct the effing thing? Why the
Jason 4: of course you need to know that, you jackass, but to give the answer out of the back of the book isn’t going to help them. It’s going to tell them what to think before they even set foot in
Jason 1: Perhaps we should pick
Jason 2: Knowing what i find
Jason 1: this up at a different
Jason 2: to be the most powerful idea of the play doesn’t make it any easier for the audience, you nitwit, it’s just
Jason 3: Jason, Jason, the name-calling is just
Jason 2: it’s just the beginning of the conversation!
Jason 4: Ok fine. Spill it.
Jason 3: um
Jason 2: don’t touch me
Jason 3: happy?
Jason 4: whatever
Jason 1: i think perhaps we should. yeah I’m gonna–
[end of recording]