Q: What’s your background with The Bald Soprano?

A: I first read this Absurdist play in college. When I learned that Ionesco borrowed the text from an English language-instruction book, I was fascinated with discovering the meaning of his dialogue and the relationships of his characters. I’ve never seen ‘absurdist’ theatre as absurd. I always saw it as true in the saddest ways; the ways in which life is unbearably monotonous, repetitive, strenuous, painful, and harder and harder to navigate as time goes by. It is said that only 7% of communication is through words. If so, then it doesn’t matter much what words we use as we try in vain to communicate.

Q: Wait, this sounds a bit depressing. I thought The Bald Soprano was known for being wildly funny.

A: Depressing? Yes. Comic? Not surprisingly, yes! If comedy is watching the pain of others, The Bald Soprano is hilarious. She is the sad clown. At the end of the play, when the curtain rises upon the Martins inhabiting the exact world of the Smiths, repeating their never-ending, tedious life, I also imagined that the Smiths would later re-enter as the Martins.

Q: So the play goes on…and on…

A: Did I mention monotony? That is how I originally conceived the show, as over and over and over. As with any absurdist production, or any theatrical production for that matter, there are countless ways to present the story, but 24 times again, this is Brat’s interpretation. We hope that you enjoy it, over, and over and over.