Podcast Summary

All Of It with Alison Stewart – "Recovering From Domestic Violence in 'Pre-Existing Condition'"

Original air date: July 9, 2024
Guests: Marin Ireland (playwright, performer), Maria Dizia (director, performer)
Host: Alison Stewart

Overview:

This episode explores the play Pre Existing Condition, a raw, innovative stage piece confronting the aftermath of domestic violence. Playwright Marin Ireland and director/star Maria Dizia discuss the play’s origins, structure, and the ways it invites audiences into an honest conversation about trauma, recovery, and the social narratives surrounding domestic violence. Through dialogue, the episode unpacks the universality and complexity of the subject, while reflecting on the layered process of bringing such a personal story to audiences.

Key Discussion Points & Insights:

The Origins and Meaning Behind the Play’s Title

[03:29–05:14]

• Initially, the play was titled "Big Mountain," referencing the emotional struggle at the start.
• The title changed to Pre Existing Condition in 2017, after Ireland learned—amid debates over the Affordable Care Act—that domestic violence was classified as a "pre-existing condition" by insurers in many US states.
  • “There would actually still be places in this country where it would be considered a pre existing condition.” (Marin Ireland, 04:41)
• Title reflects both bureaucratic realities and the layers of systems and histories that lead up to a violent event—not just the event itself but everything preceding it: personal, relational, and societal.

Truthful Representation and Structure

[05:14–06:31]

• Dizia was struck by the authenticity of relationships in the play, despite its vignette-like structure:
  • “We dip into scenes rather than seeing an entire relationship evolve... I wish I’d known some of these things when I was younger.” (Maria Dizia, 05:21)
• The play’s power comes from what is said aloud in a shared, communal space—words and truths often unstated or unshared in private.

Artistic Process & Personal Experience

[06:31–08:32]

• Ireland, informed by her lived experience, began writing without intention to create a play; it was a private exercise recommended by a friend to process trauma.
• Dialogues were written as remembered or imagined conversations (“in conversation form, without characters”)—eventually evolving into the play.
• “It was always very closed...It took friends...to really see it as something more.” (Marin Ireland, 07:40)
• Hearing her own story performed was “the most harrowing experience of my life.” (08:06)

Casting, Universality, and Challenging Assumptions

[08:32–11:24]

• Lead character “A” is played by a rotating cast of women of various ages and backgrounds (20s–70s) to underscore universality—domestic violence transcends identity or background.
• Dizia reflects that context doesn’t change with performer identity; the experience is “insidious” and can happen to anyone, not just the stereotypically vulnerable:
  • “It gets reduced to events happening on a piece of paper, but in reality, it’s happening within a romantic relationship.” (Maria Dizia, 10:50)

Societal Narratives & Stereotypes Around Domestic Violence

[11:56–13:33]

• Ireland notes how "A" never thought about domestic violence prior to her experience—mirroring broader social ignorance or misconception.
• Media often presents domestic violence through melodramatic or classist lenses, e.g., A Streetcar Named Desire; this play intentionally avoids depicting violence on stage, focusing instead on its impact and aftermath.
  • “Right—the ideas we have...it happens when people are wasted...maybe of a poor class...It’s a particular image we have collectively.” (Marin Ireland, 13:10)

The Role of the Ensemble and Casting

[13:33–16:22]

• Adele Orlando Smith, Sarah Steele, and Greg Keller play multiple supporting roles, chosen for their strong yet granular personalities and versatility.
• The rotating structure allows “A” (lead role) to be uncertain, surrounded by clear, forceful characters, reflecting the character’s loss and rebuilding of identity.
• "I think...her identity has been turned upside down. She...does not have an identity any longer. And that's what the play is about...integrating this very challenging experience into her sense of self." (Maria Dizia, 15:20)

Portrayal of Social Responses & Aftermath

[16:22–18:31]

• The play conveys the confusion and volatility post-trauma—scene shifts mirror the unpredictability and emotional landmines experienced by survivors.
• Quotes from the play echo this: “Good things and bad things start to sound the same," and “It’s like a piano fell on my head one day.”
• External perceptions, advice, and “support” can land as confusing, sometimes even as betrayals.

Community Among Cast and Theatrical Choices

[18:34–24:35]

• Dizia’s dual role as director and actor was made possible by rotating the “A” role; she describes learning from and building upon other actors' interpretations as a collective effort.
• The lead holds the script on stage—a conscious choice to enable rotating casting and to create a ritualistic, protective space for actors.
  • “It makes me feel like she is the actress herself. Like, I feel very much like… she's being cared for, because then I don't worry about her as much.” (Marin Ireland, 23:20)
• The “A’s” form a unique backstage community: “a sweet little family...they watch each other's rehearsals.” (Marin Ireland, 24:03)

Audience Reaction and Desired Impact

[24:48–27:38]

• Audiences’ emotional reactions vary: some viewings are filled with open emotion and tears, others remain still and thoughtful. Dizia values all forms of engagement:
  • “Some of us are able to release, some of us go into a more intellectual place...but the audiences were never receding from the production, they were always very engaged.” (Maria Dizia, 26:10)
• The play’s intent is for audience members to contemplate open-ended questions raised, ideally cultivating new language and empathy for discussing domestic violence:
  • “I’m grateful [these things] are being expressed out loud; maybe people will hear things before they need to hear… maybe they’ll have different words or a different language to share.” (Marin Ireland, 28:06)

Notable Quotes & Memorable Moments

• On Society’s View of Survivors (Marin Ireland):
  “Even now… there would actually still be places in this country where it would be considered a pre existing condition.” [04:41]

• On The Play’s Structure (Maria Dizia):
  “I wish that I knew when I was a younger woman… words of this play to be spoken out loud in a room, for a group of people to hear together.” [05:21]

• On Portrayal of Confusion After Trauma (Marin Ireland):
  “Could this conversation at any point sort of turn on me and the landmines kind of in that... Good things and bad things start to sound the same.” [17:20]

• On the Role of Love in Domestic Violence (Maria Dizia):
  “Because there’s love… it gets reduced to events… but… the experience is happening within a romantic relationship…” [10:50]

• On Holding the Script Onstage (Marin Ireland):
  “She is the actress herself. Like, I feel very much like, oh, she’s being cared for… she can just take refuge in this item, this totem that she’s holding onto.” [23:20]

• On Audience Engagement (Maria Dizia):
  “Some of us are able to release, some of us go into a more intellectual place… but the audiences were never receding from the production, they were always very engaged in a different way.” [26:10]

• On The Show's Aims and Takeaways (Marin Ireland):
  “Maybe people will hear things before they need to hear… Maybe then after they meet somebody who’s gone through something, they’ll have a different words or a different language to share…” [28:06]

Timestamps for Important Segments

• Opening, Play Introduction: 01:02–03:21
• Why "Pre Existing Condition"? 03:29–05:14
• Dizia on Initial Reaction: 05:14–06:31
• Ireland on Writing Process: 06:42–08:32
• Casting Decisions & Identity: 08:32–11:24
• Ireland on Societal Stereotypes: 11:56–13:33
• Ensemble Casting Reflections: 13:33–16:22
• Portraying the Aftermath: 16:54–18:31
• Dizia on Directing & Acting: 18:34–22:18
• Onstage Rituals & Community: 22:18–24:35
• Audience Responses: 24:48–27:38
• Ireland on Desired Takeaways: 27:38–29:02

Conclusion

This episode of All Of It offers a nuanced, heartfelt conversation about navigating, representing, and understanding the effects of domestic violence, both on stage and in real life. Through its experimental structure and communal approach, Pre Existing Condition encourages empathy, dialogue, and reflection—challenging assumptions about who is affected, and how survivors and those around them process trauma. The conversation is a testament to the power of art to facilitate collective healing and deeper understanding.

Support:
If you or someone you know needs support regarding domestic violence, call the National Domestic Violence Hotline at 1-800-799-7233 or text START to 88788.