Class Notes: Ruby Karp “I Don’t Trust Adults”

Summary

BroadwayRadio Presents: Class Notes with Ruby Karp – “I Don’t Trust Adults”

Episode Release Date: March 29, 2025

BroadwayRadio, the premier hub for all things Broadway, dives deep into the creative process and personal journey behind one of its standout new productions in the latest episode of Class Notes. Host Lauren Klasschneider sits down with Ruby Karp, the writer and performer of the acclaimed show "I Don't Trust Adults", which is currently captivating audiences at the Soho Playhouse. This comprehensive summary unpacks the enlightening conversation, highlighting key discussions, insightful revelations, and the intricate dance between comedy and theater that defines Ruby's work.

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Introduction to “I Don't Trust Adults”

Lauren Klasschneider opens the conversation by introducing Ruby Karp and her show, "I Don't Trust Adults". The production weaves the narrative of six different adults who played pivotal roles in shaping Ruby’s mistrust of grown-ups, particularly focusing on her experiences as a child star in the theater world.

Lauren (00:15): "I Don't Trust Adults tells the story of six different adults who caused failed child star Ruby Karp to forever be suspicious of adults."

Ruby elaborates on the show's target audience, emphasizing its resonance with young dreamers seeking autonomy, adults recovering from past traumas, and especially theater enthusiasts who have faced casting rejections.

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The Struggle of Never Being Cast

A central theme of the show revolves around Ruby’s experiences of not being cast in significant roles during her formative years in theater. Ruby dismantles the common misconception that theater kids are always the stars, clarifying that many are ensemble members who discover their strengths later in life.

Ruby (00:56): "As Broadway lovers, as any buddy in theater, we all started as theater kids. And I think a lot of people who never did theater or don't do theater have an impression of theater kids, that we all were just getting the leads, and we all were always the stars of the show."

She humorously critiques the intense environments of theater programs, suggesting that even a summer camp in Ohio might take a production of "Pippin" more seriously than Broadway itself, leading to emotional strains on young performers.

Ruby (02:02): "I poke a lot of fun at the seriousness and the very intense ways in which many directors and teachers in theater programs can treat children."

Lauren chimes in with her own experience as a theater kid, expressing skepticism about the existence of specialized theater high schools. Ruby responds with playful sarcasm, maintaining the comedic tone of their discussion.

Lauren (02:10): "I was a theater kid. I went to a theater high school, but I don't think they should exist."

Ruby (02:10): "I think theater school should be illegal because it turns a lot of kids into Republicans because they're like, defund the arts."

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Personal Background and Influences

The conversation shifts to Ruby’s upbringing, shedding light on her close relationship with her single mother, who is involved in creative direction for advertising through the women’s lifestyle magazine, Bust. Ruby highlights the honesty and openness that characterized their household, which forms the emotional core of her show.

Ruby (03:12): "I was one of those kids who didn't have rated R movies, like, not be allowed to watch. I had a lot of freedom as a kid, which in turn made me a very normal kid, very driven."

Ruby reflects on her early aspirations of Broadway stardom and how her mother's support balanced her ambitious dreams with grounded reality.

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Early Advocacy and Feminism

Ruby shares an intriguing anecdote from her childhood, discussing her appearance on Amy Poehler’s web series at the age of seven to talk about feminism. Raised in a household where feminist ideals were instilled from a young age, Ruby’s early exposure to these concepts has evolved into a more nuanced adult perspective.

Ruby (04:14): "I grew up being raised around and having a lot of messages of feminism instilled in me. And so obviously now as an adult, I still have all of those views, except I know more about them now."

She credits her mother's role in co-founding Bust magazine for fostering her feminist viewpoints and supporting her early foray into performance at the Upright Citizens Brigade.

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Writing from a Young Age

Ruby’s early start in professional writing is another focal point of the discussion. Beginning at age ten, she contributed to platforms like Ruby's Corner and HelloGiggles. While Ruby acknowledges the prestige that comes with being a young writer, she also critiques the expectations placed on children to produce significant work.

Ruby (05:23): "At least in my opinion, the reality is that you were just ultimately reading a child's writing on a very professional website. And I think a lot of this impacts my overall digital footprint."

She contemplates the long-term effects of her early writing endeavors, particularly how they intertwine with her identity and the themes explored in her show.

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Collaborative Creation with Brit Burke

Ruby introduces Brit Burke, the director who played a pivotal role in transforming "I Don't Trust Adults" from a standup piece into a comprehensive theater production. The duo's shared experiences as child theater enthusiasts and their mutual understanding of artistic vulnerability fostered a deep collaborative bond.

Ruby (06:19): "Brit truly transformed the show. It really, before Brit came in, it was way more of just like a standup piece that had some story involved."

Their partnership, grounded in tenderness and mutual respect, allowed the show to evolve into a richer, more emotionally resonant piece.

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The Rehearsal Journey

The development process of the show spans two years, during which Ruby and Brit engaged in extensive script refinement and staging. Initially focused on script coherence and emotional depth, the latter stages incorporated input from various creative professionals, including set designers, lighting designers, stage managers, and a pianist to enhance the auditory experience.

Ruby (07:02): "In the beginning of the process, it was really between Brit and I. It was a lot of script work... Whereas towards more recent months, it's been a lot of staging."

This collaborative approach ensured that every element of the production—from narrative to aesthetics—aligned seamlessly to convey the intended emotional impact.

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Integrating Music with Xander Brown

Music plays a crucial role in "I Don't Trust Adults", curated by Xander Brown. Ruby humorously references her supposed inability to sing, using music as a backdrop to underscore her narrative and add comedic punchlines.

Ruby (07:55): "A big part of the show is that I quote, unquote, can't sing. And everyone told me I couldn't sing, which is why I never got cast."

Xander’s musical cues, deeply rooted in Broadway traditions, not only enhance the storytelling but also pay homage to the musicals that influenced Ruby’s love for theater.

Ruby (08:45): "We want it to be notable for people who know a lot about musicals... add to punchlines while also honoring the text."

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Performance Dynamics and Audience Interaction

Drawing from her standup comedy background, Ruby discusses the balance between maintaining the script's integrity and responding to live audience energy. Unlike traditional theater, where performances are more static, Ruby adapts her delivery based on the crowd's reactions, ensuring each show feels fresh and engaging.

Ruby (08:50): "If I'm noticing that they are low energy and they're not reacting a lot, I can't not acknowledge that."

She acknowledges the challenge of integrating impromptu interactions without deviating too much from the scripted material, striving to deliver a consistent yet lively performance.

Ruby (09:43): "I have to hold myself back from riffing so much because of course, as a stand up, the impulse is to riff... to keep it tight and to give everyone the show that they paid for."

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Conclusion

The episode of Class Notes with Ruby Karp offers an intimate glimpse into the making of "I Don't Trust Adults", highlighting the interplay between Ruby's personal experiences, creative collaborations, and theatrical innovations. Through candid discussions, Ruby shares her journey of transforming childhood challenges into compelling theater, underscored by humor, music, and heartfelt storytelling. For Broadway enthusiasts and aspiring performers alike, this episode serves as both an inspiration and a testament to the resilience and creativity that define the world of theater.

Lauren Klasschneider (10:15): "That makes total sense. And thank you so much, Ruby. This has been a delight."

Ruby Karp (10:21): "Thank you so much for having me."

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This detailed exploration of Ruby Karp’s "I Don't Trust Adults" not only encapsulates the essence of her show but also celebrates the collaborative spirit and personal narratives that fuel Broadway's most engaging productions.

Transcript

[A]

Hi, I'm Lauren Klasschneider with Clash Notes for Broadway Radio. I'm here with Ruby Karp performing and having written I Don't Trust Adults at the Soho Playhouse. Hello.

[B]

Hi. Thank you so much for having me.

[A]

Of course. So glad that you're here. And I Don't Trust Adults tells the story of six different adults who caused failed child star Ruby Karp to forever be suspicious of adults. How many adults publicly wrote hit articles on her? How many theater teachers made her cry? Is Mark Zuckerberg allegedly involved in all of this? It's a show for young people who dream of having autonomy, for adults who are healing from other adults, and especially for the theater kids who never got cast. So my first question is, tell us about not ever being cast.

[B]

Well, I think, you know, as Broadway lovers, as any buddy in theater, we all started as theater kids. And I think a lot of people who never did theater or don't do theater have an impression of theater kids, that we all were just getting the leads, and we all were always the stars of the show. But actually, more often than not, theater kids are a bunch of former ensemble members who then find their thing later in life. And I grew up going to theater schools and theater programs. And so in my show, I poke a lot of fun at the seriousness and the very intense ways in which many directors and teachers in theater programs can treat children. Because, you know, there's the stereotype that your random summer camp in Ohio takes their production of Pippin more seriously than an actual Broadway production of Pippin, and just kind of the emotional effects that can have on you as a child.

[A]

Now, I've heard you say that. I was a theater kid. I went to a theater high school, but I don't think they should exist.

[B]

Yeah, fine. This is a comedy show. So a lot of these things are said in jest. I. My joke is I think theater school should be illegal because it turns a lot of kids into Republicans because they're like, defund the arts. Like, it's just like, it's not good when 3,000 kids in a space want the lead in a musical like that. That energy, it just. It's not good. But. No, of course. Of course. I think people should be able to train in theater if they want to. I think they should just, you know, maybe know what they're getting themselves into.

[A]

Sure, sure. Your mom, Marcel Karp, is a TV producer and co founder of the women's lifestyle magazine Bus.

[B]

She's actually not a TV producer.

[A]

Oh.

[B]

She does, like, creative direction for like ads and stuff.

[A]

Oh, okay, okay. Thanks for that clarification. What kind of conversations did you have at the dinner table when you were in elementary school?

[B]

Well, my mom, I was raised by a single mom. My mom raised me in a very kind of Gilmore Girls esque way and that we're very close and we were very honest with each other. So, like, I was one of those kids who didn't have rated R movies, like, not be allowed to watch. Like, I. I had a lot of freedom as a kid, which kind of in turn made me a very normal kid, a very driven. I wasn't like rebellious. I was very like, I want to be on Broadway. I want to be famous. And my mom was like, well, you're 12, so I don't really know about that, about all that, but we are like super, super close and our relationship is like a big part of the heart of the show.

[A]

Before you were 12, I read that when you were 7, you spoke with Amy Poehler on her web series about being a feminist. What were your viewpoints then and have they changed?

[B]

Yeah, so because my mom co founded Bust, which like, began as a feminist magazine, I grew up being raised around and, you know, having a lot of messages of feminism instilled in me. And so obviously now as an adult, I still have all of those views, except I know more about them now. I think when you're seven, your ideas of feminism are quite basic and surface level now. I understand the intricacies and how much more there is to feminism than just, you know, genders are all equal and should be of equal value. But I was able to talk to Amy because which is part of what the show is about. I grew up at ucb, the Upright Citizens Brigade, which is Amy's comedy theater. And she, when I was seven, was like, I think you're ready to start performing and, you know, start doing stuff like this.

[A]

How great. You also began writing professionally when you were 10 years old for Ruby's Corner and for hello Giggles. How did it prepare you for what you're doing now at the tender age of 24 again?

[B]

Yeah, so that's another thing the show is about is how, you know, it sounds very cool when you're like an 11 year old is writing articles for real people to read. But in at least in my opinion, the reality is that you were just ultimately reading a child's writing on a very professional website. And I think a lot of this impacts my overall digital footprint. And obviously I am still a writer now. But I do think the ways in which we look at and expect children to kind of produce anything of note, I think is always something that, in retrospect at least, I have a lot of thoughts and opinion about, which I discuss at large in my show.

[A]

Britt Burke directed the piece. Decide that Brit was the right director for you.

[B]

Brit truly transformed the show. It really, before Brit came in, it was way more of just like a standup piece that had some story involved. Brit very much made this into a full theater piece. She is. We're like the same age, and we very similarly were both kids who were like, but we're so talented. And then we were surrounded by people who actually had, like, beautiful voices. And so we really connected over that. And she just truly has treated this piece with such tenderness and such vulnerability that has really, really made the piece what it is today.

[A]

What was the rehearsal process like?

[B]

So we've been working on the show for about two years. And so in the beginning of the process, it was really between Brit and I. It was a lot of script work. It was a lot of, why are we saying this part? I think this part doesn't have enough emotional closure. Whereas towards more recent months, it's been a lot of staging. What is this, you know, part of the show meant to make you feel emotionally? Bringing in our set designer, bringing in our lighting designer, bringing in our stage manager. We have a pianist who. It's not a musical, but there's a lot of underscoring. So it kind of went from being a, like, script working process to then becoming, you know, a very collaborative process with a bunch of different people.

[A]

And the music is curated by Xander Brown. Describe that collaboration and how the music plays into your work.

[B]

So a big part of the show is that I quote, unquote, can't sing. And everyone told me I couldn't sing, which is why I never got cast. But a big part of the show is my love for musical theater and my love for Broadway. So underscoring a lot of what I say is music and piano. And our goal was to have it be notable for people who are people who know a lot of musicals and know a lot about musicals might recognize a lot of our cues. But also I think Xander's goal was how do we make it fit and make it enjoyable for these specific moments? How do we add to punchlines while also honoring the text? And all of these musicals and shows that have come before us, you know.

[A]

From performance to performance, how much do you change it?

[B]

You know, it's so funny because I come from stand up comedy. Where every show, it's different every single night. Whereas theater, you know, it's typically a little more the. It's. It's kind of meant to somewhat stay the same every night. But because it is a comedy show, I always have to react to the audience. Like if. If I'm noticing that they are low energy and they're not reacting a lot, I can't not acknowledge that. Whereas if the audience is giving me so much energy, like some nights, people are standing, people are yelling. People get so into it. I, of course, also have to respond to that.

[A]

And your standup chops help feed into that. Do you change the content much or respond to them directly or what goes through your mind as that's taking place live on stage?

[B]

I have to hold myself back from riffing so much because of course, as a stand up, the impulse is to riff. And, you know, maybe if we were a little bit later in our run, I would do that. But for the most part, I'll add at least like maybe a sentence or a tag. But I really have to hold myself back from doing too much because we do need to stay true to the text just to keep it tight and to, you know, just give everyone the show that they paid for.

[A]

That makes total sense. And thank you so much, Ruby. This has been a delight. Yeah.

[B]

Thank you so much for having me.

[A]

I'm Lauren Klashchneider with Ruby Karp, writer and performer in I Don't Trust Adults at the Soho Playhouse. Thank you.