← All Of It with Alison Stewart
All Of It with Alison Stewart
Last Chance To Catch 'Liberation' Off-Broadway
00:32:00
Off-Broadway 'Liberation' examines the Women's Lib movement in the 1970s, and is running through April 6.
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Listener Supported
Listener Supported.
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Alison Stewart
This is all of it on wnyc. I'm Alison Stewart. There are just a few weeks left to contribute to the 2025 edition of our public song projects. Submissions are due April 28th, so it's not too late to get involved for a chance to be featured on wnyc. Here's how it works. Send us a song based on something in the public domain. You can draw from a poem, a book, a movie. It could even be as simple as a cover of a song that you or your parents or your grandparents or your grandparents grandparents grew up singing. You can pull from anything in the public domain for your submission. You can go far as back as Gilgamesh or Shakespeare. You don't have to pull something from the newly additions to the public domain. As long as it's in the everybody public domain, it's fair game for the Public Song Project. To find out how to get involved, go to wnyc.org publicsongproject Again, that's wnyc.org publicsongProject Submissions must be received by Monday, April 28th. We're excited to hear your songs. Now let's talk about theater on the way. The woman starring as Desdemona in Othello, that's Molly Osbourne. But first, let's talk about the Off Broadway sensation Liberation. A new play takes us to Ohio in 1970. We are in a gym and we watch as a women's consciousness raising meeting takes place. Nothing formal. It was set up by Lizzie, who's looking for women who want to change the way things are. We get to know Lizzie quite well because she has dual roles. We see her in 1970 trying to set up this group, and we see her now breaking the fourth wal talking to us, the audience. Lizzie has questions. She wants answers from women who knew her mom to understand her better and to understand how we got to our present moment. One of her mother's friends is Celeste, a black graduate student who has returned home to care for her sick mother. But she's also brought home some secrets. The play is called Liberation. It's a New York Times critics pick. The show is produced by the Roundabout, is running at the Laura Pelz Theatre only through this weekend until April 6th. So now is your last chance to get tickets. Around the opening, I spoke to playwright Bess Wall as well as Susanna Flood, who plays Lizzie, and Kristalyn Lloyd, who plays Celeste. I start by talking to Susannah about being the first actor we see on stage when the play begins casually as she speaks directly to the audience. I asked her how that entrance affects the way the audience settles into the show.
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Susanna Flood
Well, a lot of people don't know that the show is starting and there have been people who've vocalized that confusion in different ways throughout. But I, I. It's the second time where I've been in a theatrical moment where the lights are up on the audience and they do. And I do think that that causes them to feel a part of the moment, to braid the, the actual present moment in which the audience is seeing the show into the context of the show. And I think that that gives them permission to relate to it, to internalize it from the go. Even yesterday there was a woman. You know, I get to this part, it's just a little bit of exposition about being that we're in Ohio and there was a woman who in the back and at this point the laser kind of changes just like woo hoo. You know, she's like this, whoever is this person is like in Ohio, from Ohio. And they're feeling some pride. So it does, it sets up a convers, sensational mode. And I think that that survived. I mean, I'd be curious how you guys feel, but like, I think that that means that when we get to the later revelation revelations in the play, people feel that they can talk back to the play throughout. When we talk about McGovern, when we talk about Nixon, when we talk about even the no fault divorce law people, the especially people who live through that era then feel that they can express even words, language out loud in the theater, which is a tradition that doesn't really belong to the theater, but could and should.
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Kristalyn Lloyd
Chris Lynn, do you and the other actors watch backstage to get a vibe on the audience?
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Listener Supported
Absolutely.
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Susanna Flood
I didn't know that.
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Listener Supported
Absolutely. We watch you on the monitor, we try to listen for what they're saying. Who might be the person who's taking this opportunity to talk to you about themselves? Yes, but it's always it really fun for you to start at. You do such a great job.
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Kristalyn Lloyd
Thank you.
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Susanna Flood
You're welcome. Well, Kristal is the first person who comes on when the women start coming on. Crystal is the first person who walks on. And I always feel like, phew, oh yeah.
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Kristalyn Lloyd
Did you always start the play that way with the. With Lizzie speaking?
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Bess Wall
I did, to a degree. I mean, I've. I've written like, 25 versions of this play and drafts of this play with other titles and other approaches. But actually, having the play start with Lizzie speaking was the thing that cracked it open for me. Having someone in the. Come in and say, like, here I am with you, and we're gonna do this together and bringing the audience and in that way. And it sort of allows us also to look at the past in relation to the moment we're in now. You know, Lizzie is not me. She's not an autobiographical play by any means. But Lizzie does stand in for a person trying to make a play for the audience and with the audience and ask big questions together. I really. I wanted this to feel as much like a happening as. Like a play, sort of like a thing in real time that we're making and discovering with the audience.
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Kristalyn Lloyd
How does it feel to play the dual roles, Susannah?
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Susanna Flood
It's. I mean, I actually don't experience them as different, to tell you the truth. Like, I experience the questions of the play and the dilemma of Lizzie the mom and Lizzie the daughter as a comparable dilemma. And, in fact, there used to be this. There's a section at the end of Act 1 where the character Susan talks about the idea of artificial wombs. And we sort of get into a debate. And it used to be that all of that. That entire conversation belonged just between her and Lizzie the daughter, the narrator that you meet at the beginning of the play. And we. In rehearsal, we discovered it was better actually, to keep the first half of that scene in the past so that all of the women, you know, could be talking about that together.
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Unknown Speaker
And.
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Susanna Flood
And so, especially as we've gone on this debate about what does it mean to have a child and to be a woman in the world, and not just a woman in the world doing a job, but. And getting paid for it, but having a vocation, by which I mean something that you think you're put on the earth to do, that you love, that is a craft that you are going to practice over your whole life. You can probably relate to that, Allison. Like that.
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Kristalyn Lloyd
That.
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Susanna Flood
That is a tension inside of a person, and how do you balance those things? And I feel that debate starting for Lizzie the mom, and it just, over the course of the scene, just spills over into the present version of Liz, by which I just mean Susanna myself. This is the question that is on my mind all the time now. So I don't actually experience them as that.
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Kristalyn Lloyd
As that.
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Susanna Flood
It doesn't feel like a dual role. It feels like one continuous role.
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Alison Stewart
Celeste, you play. Excuse me, Crystal. And you play Celeste. This Radcliffe grad comes into the gym, a boy's gym, we should mention. She's been. She's come to Ohio to care for her sick mother.
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Listener Supported
Yes.
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Alison Stewart
Why do you think she shows up to this group?
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Listener Supported
I think she's at her wit's end. She. She. She, you know, implies that she has five other people, four other people who could be taking care of her mother, but it has fallen on her, and I don't imagine at the top of the birthing order or at the bottom of the birthing order. So I think, you know, watching my grandmother slowly go from Alzheimer's and what a long journey that was, and having an aunt who was the caregiver and how grief can just. It sucks life out of you. So I think she's at a point where she's like, I need something to keep me going. I need some remnant of my New York life and myself, who I discovered in New York after leaving Ohio. I need that. She's going to drown. You know, if someone had asked me to. My parents needed me to go back to Texas right now for a long period of time to take care of them. I. I can. I can understand why Celeste gets to the point where she's like, I don't care that they're all white women. I am going to this group. I need to find my people. And it may not be sk. Like skin folk. It might be, you know, on. On another level.
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Kristalyn Lloyd
So how does she feel that she's in a group of white people?
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Listener Supported
Oh, othered. I mean, from the beginning. And I think there, you know, you'll see throughout the show, there's another black character that shows up, and you get to see the tension between what Celeste is trying to hold onto, but what she's. The freedom that she's finding in this group and the strength and the confidence that she's finding with fighting these things. And, you know, a lot of people after the civil rights movement, it got so quiet. Everyone was so tired. Everyone was burnt out. Our leaders had been assassinated. So around the 70s, you notice, like, the Black Panther Party starts doing more stuff involving, like, community, because the fight had just drained everything out of them. So I think there is a rejuvenation with being in this group for her, while also a conflict of race and conversation in that social aspect.
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Kristalyn Lloyd
Bess, you said this is an autobiographical play, but there are some. Some Tokens to your past. Your mom worked for Ms. Magazine. What specifics did you pull from your.
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Alison Stewart
Mom or the women she grew up with that you used in the play?
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Bess Wall
Yeah, when I was a child, my mom worked at ms, so I sort of looked up to all of her friends and to her. I really idolized them. And I saw them as these sort of incredible, larger than life women who were engaged in this really important fight. And I think that kind of sense of possibility and of activism that I learned from them was something I really wanted to represent in the play. I think, thankfully, my mother is still with us, unlike the mother character in this play, which I'm so grateful for. And there's a conversation in the play that the narrator of the play never got to have with her mother that she has toward the end of the play. And that was a conversation that I actually was able to call up my mother and have with her. And then I put that conversation into the play. So it was just incredibly meaningful for me, through the act of writing this play, to have the conversations I wanted to have with my mother and to sort of ask the question of, like, can we see our mothers as people beyond the function they have in their. In our lives? You know, can we see our mothers as full human beings? That's a conversation that the play is really in dialogue with and that forms the heart of this piece for me and is a very personal conversation between me and my mother.
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Kristalyn Lloyd
Are there any women in your life that remind you of the women that you're playing in the 70s?
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Susanna Flood
Oh, you know, I had a. Well, I keep on my dressing room table a picture of this woman who was like a grandmother to me. She was actually my. This is weird, but this is gonna. In the words of the play, this is a little bit weird. I've never said this to anyone, but it's true. This is true. My mom's first mother in law was like a grandmother to me growing up. And she and my grandmother are both captured in this. And neither of them are here anymore, but they both sort of like lived through this era and had very different responses to it. My actual biological grandma was living in the Upper peninsula of Michigan and didn't. Didn't. The movement didn't touch her up there. And my surrogate grandmother did sort of like exit her. She reformed her life after her children, you know, were teenagers. And they both are responsible in different ways for me feeling like I could be an actor. So I guess, like, I feel I sort of dedicate it to them, though, and I Hold them in my mind. And I. And to this question about, like, conversations never had, I do wish that I could. You know, I remember, like my mom's siblings are spread out over kind of a wide range. And the eldest, who was really close to my GR. Grandma, once told me this story that was told to her by one of my grandmother's friends who said that I think if Lillian had had been able to choose her life, basically she would have done something more like what Susanna was doing, which, you know, my grandma, she never got to see me on. We lived in different places, you know, and so I guess, like I. I find their. The fact of their historical presence to be an organizing principle.
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Alison Stewart
How about for you, Kristalyn, Is there someone in your life?
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Listener Supported
Yes. I mean, there are two people that I constantly conjure when I'm in the show. They're both alive, which is beautiful. One of them is my dad's mother, who raised her five kids on her own because my grandfather died when I think my dad was like seven. And so she never remarried after that. And she's 95 now and her mind is still there, you know, but the movement never touched her. When I talked to my mother about the movement, it never touched Beaumont, Texas. It never touched Freeport, Texas. So my grandmother, we have very different political and religious beliefs. She's very Christian and I am not. And so a lot of her views aren't feminist. But watching her spend her, from what I know, her entire existence to me without a husband was pivotal. I did not have a lot of role models growing up in Texas of women who didn't get married and didn't have kids before the age of 25. Like, I was in 13 weddings by the time I was 27.
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Susanna Flood
Oh my gosh.
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Alison Stewart
13.
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Kristalyn Lloyd
Yes.
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Listener Supported
And the youngest was an 18 year old friend of mine who got married right out of high school. So I didn't have a lot of examples except for my grandmother, who didn't have a husband. And my theater teacher in high school, she. Her name is Allison Frost and she was probably one of the first feminists I ever encountered. And I remember one of the biggest things that stuck out to me when I first met her was when I asked her about doing Grease at the school and she like cussed Grease out up and down. I was like, I am never doing that effing play. She was like, has nothing good to help women out. And I was like, what? Oh. Oh my gosh. Wait, what? And it really clicked this thing in me. And she cast me as Hamlet my senior Year, which was another big thing to do. You know, it was a very feminist move of hers. Totally. And she inspired me to continue acting on a much more specific and intentional level. So everything that I try to do after, you know, once I got to New York, I do very specific plays. I choose. I choose my projects. And I. You know, this one was. Was perfect. Perfect timing. And I think that those two women have. It's the reason I'm still going. My grandmother has never seen anything I've done on stage. She saw me in a soap opera. Cause I was on one for three years. And for her, that was like, she made it. My granddaughter has made it. I was literally on my way to rehearsal for 1776, a Broadway show I was leading, and she's on the phone with me, and she's like, so when are you gonna choose your second career? I said, what? She said, you know, something that you. I said, well, what do you think I should do? You seem to know me so well. She said, well, what about a teacher or a secretary? And I was like, girl, woo, we gotta get you up to New York. We gotta. Just so you can see there is a career to be had for a black woman who has no kids and no husband. It scares my grandmother to death.
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Susanna Flood
So when you play Hamlet, right? She's coming.
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Listener Supported
She's coming. Yeah.
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Kristalyn Lloyd
Soap opera. Come on now.
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Listener Supported
Bold and the Beautiful, baby.
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Alison Stewart
See, that's for Grandma.
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Listener Supported
Bold and the Beautiful did it for you, girl.
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Susanna Flood
All right.
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Alison Stewart
These women are all coming to this meeting. Bess, why do you think they keep coming back to this meeting?
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Bess Wall
Mm, it's a great question. I think it's really the friendships. You know, I didn't realize I was writing about this when I started, but we really discovered in rehearsal how much this play is about friendship between women, which is something that I know I personally crave so much and hold so dearly. And I think they start to become the only people they can tell certain things to, you know? And I think there's a sort of loneliness that's being soothed by the group and a feeling of solidarity that's being created by the group that keeps them coming back. And then I think the play also delves into, like, the complications between women and their friendships. Like, what are they not telling each other? What things can they not get beyond, no matter how hard they try? But ultimately, like, to me, this story is so much about, like, the sort of sacred nature of female friendship.
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Alison Stewart
I've been speaking with playwright Bess Wall and actors Susanna Flood and Kristalyn Lloyd about their Off Broadway play Liberation. It's running now at the Laura Pels theater through just April 6th. We'll have more after a quick break. This is all of it. This is all of it on wnyc. I'm Alison Stewart. Let's get back to my conversation with playwright Bess Wall and actress Susanna Flood and Kristalln Lloyd, who star in the Off Broadway play Liberation, about a women's consciousness raising group in the 70. It's a new York Times critics pick. I spoke with the trio around the show's opening earlier this year. You just have a few more days to see Liberation before it closes on April 6th.
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Kristalyn Lloyd
Susanna.
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Alison Stewart
At first, Lizzie's like, she's sort of.
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Kristalyn Lloyd
Trying to control the group. She doesn't want to be a quote unquote leader. But yeah, yeah, as the play goes on, the women in the room sort of try to poke some holes in her feminist values. Does she really have them?
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Alison Stewart
What would you say are Lizzie's biggest.
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Kristalyn Lloyd
Faults and what are her weaknesses?
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Susanna Flood
Well, I mean, Lizzie is afraid. She is afraid and I think she's afraid to risk, to risk failure. And she's also afraid to risk, you know, rejection. Like, you know, she doesn't want to go out on this strike. She's, she's afraid of sort of, you know, she, she's ambitious but also scared to really claim that fully for herself. And so it's kind of, she's a little bit trapped by these contradictions. And also, I mean, she has a lot to learn from Celeste and Joanne and the non white. I mean, those are the only two non white characters in the play. But she has, she has a lot to learn about a perspective that isn't her, the one of her own white body walking through the world. So I think those are the big ones. I think what is redeeming for Lizzie is that she truly believes that the group is important and revolutionary, that the act of coming together and speaking these words to each other is not just we talked about this in rehearsal. But is not just an emotionally cathartic or personal. Personally venting. An act of personal venting. It's not the same thing as going to your therapist. It is sharing experiences that you thought were your fault and you realize they belong to a lot of people who share this one gender identity. And you realize, and I mean, this is true. You know, you go back and look at any of the research material that we looked at, like the rallying cry of the movement was this will be redundant for maybe some of the listeners but the personal is political, and that's. I. That's what that means to me. And I. I feel like we're able to locate that in the language of the play, basically, that in reporting these personal experiences to each other, you discover that you are not alone and that it wasn't your fault, that it is the fault of the world, basically. And so that gives you, A, other people to stand with, so it's not so scary. But B, it also gives you the realization that there is something real in the world that is. That you can challenge.
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Kristalyn Lloyd
There's a great clip we have from the play. We're gonna play it. It's from Liberation. It's Dora, and she's telling them about something crazy that happened that she did at work. Let's take a listen.
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Unknown Speaker
But I say to him, I say to Mr. Masterson, and I say it in a very nice voice. I say, hmm, I don't really get it. I work a lot harder than Ray. Ray is always, always over budget. I get him back on budget. Half of Ray's clients just come to me because they don't want to deal with Ray. And he just kind of shrugs. Sorry, Dolly. Sorry, Dolly. And then I just. I don't know. I guess my mind went blank because then I just said, the only thing that Ray has that I don't is a penis.
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Bess Wall
What?
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Unknown Speaker
I know. I just said it. I really did it. I said, the only thing that Ray has that I don't is a penis. The only thing that Ray has that I don't is a penis.
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Alison Stewart
Getting laughs in the studio. What's making you laugh, Kristalyn?
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Listener Supported
Because I remember one performance where you had made that first cut, that big cut that got us this draft. I didn't read it. So when we got to the part where she says, the p. Like, the gasp for me is real.
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Susanna Flood
Yeah, I know that gasp. The gasp in the recording is very recognizably crystallines. And it's a thrill waiting for it, to hear it every. Every night.
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Bess Wall
Oh, my God.
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Listener Supported
It took me. I was like, oh, my God.
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Susanna Flood
It was.
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Listener Supported
It. It tickles me.
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Susanna Flood
Yeah, it tickles me.
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Alison Stewart
So where. Where does Celeste fall on the feminism range? Does she. Is she a radical, or does she believe in slow doing it slow motion? What does she think?
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Listener Supported
I think she believes in putting in the work and taking the risk. And, you know, the sacrifice is necessary, which is where her and Lizzie kind of differ. Like, I think because black women know that the sacrifice is necessary, it's not as scary. And I think because of the way privilege is set up and race that we just are like, we have less to lose, like, you know, And I think she struggles with it when it comes to her sexuality, which I can completely understand as someone who came out when she was like 36 as bisexual. Holding onto that is such an identity. So I think that's the one place where she hadn't examined and hadn't really gone into depth with herself. And we see the, you know, the results of that in the show.
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Kristalyn Lloyd
I know you've had after show meetups with the audience for audience questions. Bess, what kind of questions do people have? What are they interested in knowing about the play?
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Bess Wall
Oh, people always surprise me with their questions. As much as I think I know. I mean, people, a lot of people want to know about the process of making it because the work that's happening on stage with this cast is so brave. And so it just. They're really like ripping their hearts out for you every night. And how we could have gotten to that point with the trust with each other and in the work, I would say, is the thing that people often want to know about. Like, what process did you go through to create an environment where people felt safe having these conversations and going to these incredibly raw, emotional places? And it's really a credit to our director, Whitney White, who is just extraordinary. She's fun, she's good. She's a good one. She really is just like absolutely a visionary. And she created this environment of safety and trust in the room. And then to our amazing company of actors who also trusted each other to go to these places that frankly, I haven't seen on very many stages. It's really, to me, that's part of what's radical and revolutionary about this play.
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Kristalyn Lloyd
Part of it is that for at least one part of the play, the cast is nude. Was that always part of your script?
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Bess Wall
It was, it was. I knew that I had to go there in the play in part because when I researched real consciousness raising groups and you know, they called them rap groups in the 70s, it was one of the things they did. And it was something that a lot of women from that era who I spoke with were really, really proud of and really, really felt like an important part of their process. And in a play that's so much about int and about trust, it felt like a very natural expression of that trust. And we worked with an incredible intimacy coordinator named Kelsey Rainwater, who was like, very careful about making sure that everyone's boundaries were respected. But it was a sort of important and very brave part of the process for everybody. And I feel like, in some ways, it's the heart of the play.
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Alison Stewart
Was this your first time being nude, either of you?
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Susanna Flood
No, unfortunately. But it's definitely the best time. Yeah. My parents were acting teachers. They always said that. Yes, yes, yes, yes. Family. Family Guild. But. But they. My dad always said that acting is controlled humiliation, which gave me a. Yeah, I think. But I. But honestly, it's not. I don't feel that. That this part of the play, Kristin, you jump in here, like, is. Is actually the scariest part of the play.
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Listener Supported
No, the scariest part for. Is different for everyone. Yeah, that's not my scariest part. This isn't my first time being nude. I did it for a Dominique Morisseau play called Confederates at the Signature a couple years ago. I showed my breasts, and it was a very political form. And when I saw this in this script, I was like, like, okay, baby, let's do it. Let's do it. My parents are not actors. They are electrical engineer and a math teacher. So.
- [28:15]
Alison Stewart
Yeah, well, it was funny because when you go in, you give your phone away. This is no reason not to go over the show. It made it very easy, but it was funny. My friend saw the show twice, and he said the first time when you come on stage, someone was giving you.
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Listener Supported
A whole lot of hack.
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Alison Stewart
They were there about giving away their phone.
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Kristalyn Lloyd
Giving away her phone.
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Susanna Flood
Yes, yes. She threatened to sue.
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Listener Supported
To sue.
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Susanna Flood
To sue. Threatened to sue. She threatened to sue. You know, I just. We gotta give a shout out, a shout out to our incredible lighting designer chassis, who was. We were early in the process. And so all the designers were still watching the show. And Cha, at that moment, lifted completely out of their stage. They were really ready to rush the stage or do anything that was gonna help protect all of us in that moment. But yeah. Yep, people have feelings about.
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Alison Stewart
They have their feelings about their phones.
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Susanna Flood
About their phones.
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Bess Wall
Yes. But it's the 1970s. The play set in the 1970s, so I kind of felt like this is immersive theater. You know, it's actually incredible to see people have conversations with each other before the play begins, during intermission. And I think.
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Susanna Flood
I honestly think it's one of the reasons people are enjoying coming to the show. Honestly, I just like, if we could all be. Have moments where we are forced to get rid of that for a while, we might find that we enjoy those moments. Moments hugely.
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Alison Stewart
Crystal, what do you hope people, after they see the play, go have coffee, go have a drink. What do you hope they have conversations.
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Listener Supported
About who they are. I hope they're having conversations about who they are. I hope they're having conversations about what they believe and how they want to carry that into their everyday life. You know, I've invited my mother and her sisters and all of my female cousins because I'm like, we need to have more conversations about this as women. My female cousins are also a lot more liberal than the moms we grew up with. So I'm hoping that that is what it inspires in men and women.
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Kristalyn Lloyd
How about for you, Bess?
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Bess Wall
I agree with Kristalyn. I mean, I hope that people sort of find the courage to have a deeper level of intimacy in the conversations that they do have as well. You know, so much of this play is about like, how true can you be to yourself? How truthful can you be in your relationships and can you have the conversations that matter before it's too late, before it's too late on a personal level with the people you love and before it's too late for us as a society. You know, the time is now for us to be talking about these things and you can't wait. So I hope that it lights a fire under people to do that kind of deep work.
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Kristalyn Lloyd
Any thoughts? Susanna, your last?
- [30:58]
Susanna Flood
Well, I guess the thing for me is about the heroism of my journey through the play has a lot to do with children and mothers. And I guess when I became a mom I was astounded by what I had taken for granted in my friends who had been mothers. I had taken about what they were accomplishing just on a daily level getting through the world. And I think that they. There is a level of heroism in that. I'm not talking about a sentimental version of that word. I'm talking about an actual chivalric going out into the world and doing something concrete. I think that that is underestimated as an action and I want more claiming of the power of that in our political leaders. I want want nobody to feel emasculated by owning that. I want that to be claimed as a real positive, forward footed value. So that's what, that's what I not to think of motherhood as a kind of passive inside the home thing, but the actual heroism of it because I think that that is a paradigm shift that would lead to a lot in the world.
- [32:24]
Alison Stewart
Liberation is running now at the Laura pels Theatre through April 6th.
- [32:30]
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