Episode Transcript
[00:00:00] Speaker A: Welcome to the exclusive Cosmic Curtain interview with Lori Koth. I'm Brian Kitson, head writer of the Cosmic Circus and the Cosmic Circus Broadway. Lori Koth is starring in Ridgedale Players Fun home, which opens Oct. 25 and runs through Nov. 10. In this interview, Koth speaks on the importance of shows such as Fun Home and the queer representation in theater. What spoke to her about this production and what it's like playing a role such as Alison. Enjoy.
Thank you so much for joining me today. I was able to sit down on the rehearsal on Monday and it was fantastic. But how has rehearsals been going for Fun Home?
[00:00:35] Speaker B: Well, now that we're in tech week, we're doing a full show run every day and obviously in the dress rehearsal stage. But prior to that, I felt like we were moving through blocking very quickly. I think we were running. We had the show ready to run at like mid September, I think. And our off book date was. I felt like it was early for me because I don't with my adult brain now. I think the last time I was learning this many lines I was in high school or college. So I'm like, oh, this is harder now.
Having a little bit more pressure to get it right sooner was probably really great for how I'm feeling now more locked into the script.
[00:01:22] Speaker A: So you've been almost off book for like a month now?
[00:01:25] Speaker B: I think so.
[00:01:27] Speaker A: Wow. Okay. No, that's just. That's impressive. It shows the level of work that you're putting into this. This is fantastic.
Can you tell us a little bit about the show and how your character factors into the story? Because you're kind of.
You're the big narrative piece here.
[00:01:42] Speaker B: Sure. So I play Allison and she's based on real life graphic novelist, lesbian cartoonist Alison Bechdel, who wrote the source material, Fun Home, the graphic memoir. And so it's really the musical adaptation of the memoir is taking Allison's writing process of the memoir and putting it into the musical. So it's almost as though in the musical I'm writing the book. So I kind of think that that's super meta. Like I go around in my head about that, how cool that concept is.
And I also get to go through these memories in like a non linear way, which is really neat how you start realizing that even though it's non linear, everything is linked, everything leads to everything else. And you start to like see a trend in behaviors or just family dynamics that lead to, you know, this tragic event in her life with her father that ends up being a trajectory for her art so, and Allison Bechdel has stated that, like, she. When she was writing the book, she was kind of just, like, going through these memories, and she didn't really know what the purpose was, like, what the thesis would be. She was kind of just, like, using it to process her life's memories and, like, make sense of it. At a certain age, you kind of start doing that.
And she ended up realizing that, like, because of all of this, it really led her to find her passion in writing and drawing and putting those two together to tell really, really amazing stories.
[00:03:30] Speaker A: I was going to say, you know, one of the things I noticed is that you're kind of, you know, Allison's kind of doing therapy for herself. Like, especially your version of Alison is doing therapy for herself. Like, looking back at these memories and connecting these. These. These thoughts. And, you know, in therapy, things aren't always linear either. They're. You're threading them together and you're looking for those patterns, and you're kind of doing that for yourself. Your character is.
[00:03:51] Speaker B: And sometimes you uncover a memory and you think it's maybe. Maybe at the time it didn't feel significant, but in hindsight, it's, like, monumental. So I think that there's a couple really wonderful and very, you know, big moments emotionally that maybe didn't feel that way at the time.
[00:04:10] Speaker A: There's a few times in the show where you actually just, like the look on your face as something that's happening on stage. And, like, people maybe aren't even, like, they're paying attention to the action on stage. But I kept looking over to you, and you would have this, like, the moment of, like, the way that that hit. Hit differently as an adult. And, like, so it's really cool to kind of see how you're reacting to all of this, because, again, that is, you know, as you remember, as an adult, it's different, and it feels different, and it hits differently and.
[00:04:38] Speaker B: Totally. Totally.
[00:04:40] Speaker A: So with this being a story that is, like, you said, like, the frame story of, like, this is a story about a real person who is writing a novel, who is writing a musical, do you feel like there's some pressure to that of, like, you're playing a real person, you know, and they're around, they're out there in the world.
[00:04:57] Speaker B: Totally, totally. And if you know Alison Bechdel, can you invite her to the show? Can you, like, send this podcast or something?
[00:05:03] Speaker A: No.
[00:05:03] Speaker B: I think there is a ton of pressure to get it right. But also, I think that in making. Making it a musical, I mean, she agreed to this. So it's like. It's kind of. She did give over her story to. She trusted the, you know, the writers of the musical to take it and run with it, to take her material and, like. However it.
However it inspired them to, like, hash it out in their way. So I've seen interviews of her even talking about how it was, like, really strange in some ways to see, like, her mother portrayed a certain way or her, you know, her brother's involvement and things like that you wouldn't really think about because it's, like, somebody else's interpretation of her book. But truly, there's so much content in the graphic memoir that I felt like for the writers, it gave them so much to work with, and it really gave them a great tone of what this family was like, what their home was like. But for an actor, it really. I was like, I feel like I got a clip, not a Cliff's Notes, but I felt like I got. It felt like cheating. I felt like I had all this information that even though it's, like, one line in the show, it's like there might be pages upon pages in the book about it and really hashed out and really thoughtful. I mean, her.
The way that she thought through everything or how she related it in the graphic memoir is like. I mean, it's truly a masterpiece. One of the. I mean, truly one of the best novels of probably that century.
[00:06:41] Speaker A: So what drew you to this role? So, obviously you had to audition for it. So there was something that was just like, I have to try out for this one.
[00:06:49] Speaker B: I saw it on Broadway with the original cast. I was living on the east coast then, and my wife and I heard about it. I mean, really, we knew very little about it other than that it was like a lesbian protagonist, which. How many Broadway shows have a lesbian protagonist? It's like, right.
[00:07:08] Speaker A: Say no more.
[00:07:09] Speaker B: Yeah. So we felt like we wanted to support that art, and so we got to watch it, and we loved it.
And so I just recently got back into the community theater scene and get back into it. I was never in it before. I really had done it. Like, the last show I did was in college, and then a show that I had done in high school was being done in my local community, and so I was like, I want to try to get back into it. It kind of worked out with things in my life and my family, and I'm so glad I did. But it was through a connection that I. That I met in that show that they were like, oh, my friend Scott is putting on Fun Home at Ridgedale. And I'd never heard of Ridgedale Players. I hadn't heard of most theaters in the area.
[00:07:59] Speaker A: Sure.
[00:08:00] Speaker B: And so when I was like, oh, but they're doing Fun Home, like, that's really amazing because it's Troy, Michigan. I grew up in Sterling Heights. Like, I know a show like this is a risk for a box office because it's like, you know, queer art is, you know, needs to be told, but it's often, you know, there's logistics and red tape and things that sometimes prevent it from seeing the light of day. And I really respected that. Scott, as the president at Ridgedale, brought this show to the board to discuss as a possibility. And the fact that they approved it, it really made me want to back them and get behind them. And being a queer woman in theater, I was like, I mean, is there a better role, really, truly to pay homage to, but also to really dive.
[00:08:57] Speaker A: Into, you know, in one of our recent podcasts, RJ and I talked about that because some like it hot, they up. They updated the story and they made one of the stories a trans story. And it was just like, you don't. It's interesting when all of a sudden, like catches you off guard because you don't see our. You don't see queer stories in the main as much as they should be.
And so the fact that you're right, Ridge Dale took a big risk in it, and it's fantastic.
[00:09:21] Speaker B: Mm. And I think it's.
I think even though the storyline has to do with some similarities with her and her dad and their sexuality, I think there's so many far reaching, universal themes that are being discussed. And it doesn't have to be about being gay. I think that people who have come to watch the show are interested in it would gain a lot more insight into their family dynamic or into just like that kind of non. The exploration of growing up and why do we become the way that we are and why do we have these things that trigger us or bother us or these things that we haven't accepted in ourselves? I think that there's a lot of things that we could look back on in the same way that Allison Bechdel did with her book and with the show. So I really love that for this.
[00:10:13] Speaker A: Show, speaking of some of those topics, you know, this show does speak very much on sexuality and kind of coming out, which is a very traditional. I guess it's a traditional experience for queer individuals, but it also really combines it with grief and just like, not just the grief of losing somebody, but also the grief of like, what is that experience to a family? And there's the extra added addition of the father aspect. So, like, I guess as an actor, what is that like for you to bring that story to life on stage?
[00:10:43] Speaker B: Oh, that's a. That's a big question. Or that, you know, that there's a lot to that to unpack.
[00:10:50] Speaker A: It's a heavy story.
[00:10:51] Speaker B: Yes. So grief, for me and how it explores it is.
I think, that other musicals shy away so much from grief. And I think it's such.
It is. Everyone goes, I mean, what's in life? Right. Life and death, I mean, and taxes, whatever. But. But I think about, like to not explore that in other. Because there's always these tragedies and musicals and plays and they've been writing tragedies, you know, like Shakespeare. I mean, like before the ancient civilizations have written about these tragedies. But to really dive into the process of the aftermath is I think a really.
It holds a lot of value. I mean, we're supposed to process things. We're supposed to feel something from art. And, you know, I think that there's different times in history or in our lives where different. Like, you seek certain things in art. Right. Like, I mean, if you're going through something really hard in your life, maybe you're looking for something light hearted, but that doesn't mean that you should avoid or dismiss something that really could maybe help you see it in a different way. It might make your grief. You might learn something more about your own grief process through seeing somebody else's and intimately explored in the way that it is in the show.
[00:12:22] Speaker A: Absolutely. And not only does it explore the grief, but I love this, the mental health aspect. You know, as a psychologist, you don't see a lot of that either, but there's this throughout the story. You know, Allison's kind of getting, I don't want to say worried, but, like, there's this, like, comparison of, like, am I becoming my father? Like, and that. That has to also be quite heavy to, you know, you're telling the story and there has to be a heavy story to tell as well.
[00:12:45] Speaker B: Mm. Yeah, I think it is. I think there's not a lot of stories on in Broadway that just that look into father daughter relationships either. So I think that makes it really unique. But yeah, the mental health aspect is something that I think a lot more people are thinking of. Like, it should not be taboo. Like, I think that a show like this, it's. It's. It's a. It's a fact of life that, you know, people don't always have the support that they need, and sometimes they're misunderstood or sometimes they bury things really deep, deeply, for all sorts of reasons. I mean, shame, of course, with. In Bruce's case, but for all different reasons for all different people. So I think just to be able to really think about that, shed light on it, say, this is right. This is something that's important still. Even if it's hard. Even if it's hard, we still need to do it.
[00:13:49] Speaker A: Yeah. I mean, it is a very real story. And there's one scene that I love, and I don't know the names yet, but the teenage college age, Allison, and the way she confronts her father of just being like, are we going to talk about this thing? And that's just like. Again, that's like a really. Like, I was like, oof. Like, that's a really real experience of dealing with mental health and having to talk about sexuality and having to talk about these things that we all have. We all deal with at some point in our lives.
[00:14:19] Speaker B: Mm. Yeah, totally. Totally. And I think if we have more conversations about it and we have different perspectives and if we know that there's help out there, too, and that you're not alone, I think that those are the pathways to people finding the support that they need. Even if it's just like, somebody being, like, same, same.
[00:14:42] Speaker A: Absolutely.
[00:14:43] Speaker B: Been there, or this is what worked for me, or what do you need? How can I help you? I think that that's just absolutely the way that it all starts.
[00:14:51] Speaker A: And I hope this doesn't sound dramatic, but I feel like this is one of those shows, and I hope that. Literally. Yeah, but, like, when you go to see this show, I think that if it's going. I think it could potentially save people's lives, because we're going to see this happening. We're going to see it. It's going to open up conversations. It's going to open up just knowing that maybe people aren't alone in these experiences because this one character is experiencing it all on stage in front of them.
[00:15:16] Speaker B: And I think something that's really poignant about this show, too, is the timing of when Alison Bechdel was born. Just, like, so, like, Bruce. Bruce was born pre Stonewall, like, pre all that. And Allison Bechdel was born after. And, you know, like, just like that time of her coming out, like, it was like there was already a community on her campus. There was already. And, like, I think about Alison Bechdel real person living an out queer life, and a life fulfilled, happy, you know, having companionship or just having community that her father never had. And I think that that comparison shows you that we are moving toward a place where people maybe won't have to come out someday. Right. There's no closet. Someday. And I think I even have hope because, like, one of the, like, the little kids in the show, like, they just don't bat an eye at the fact that there's, like, queer characters in the show. They know queer kids at school. Like, that was not the case even in my, like, growing up. So it's just. You keep thinking about how maybe that's one less reason for people to feel shame or to feel, you know, like, they can't accept something in themselves.
[00:16:41] Speaker A: Absolutely.
So for your character, specifically, you have this unique, unique, uniqueness in that you don't necessarily interact with most of the people on stage. You're kind of.
You're kind of the omniscient. Yeah.
What is that like for you as an actor? Is that challenging to, like, you're telling these stories. You're even singing some of the songs, like, walking around them, but, like, you're a ghost.
[00:17:05] Speaker B: It's. I always kind of joke that I'm the conjurer. I'm conjuring all the memories. And early in rehearsals, when it was a little less serious than now, I'd always joke with the actors. I'd say, don't look at me. Don't you look at me.
I might still say it sometimes, but it is hard. But it's also, like. It's a little bit easier.
The actors are so good, too, that it's very easy to draw out, like, what I would feel if I was watching myself going through that or if that was, you know, if that was me in that situation.
Because so much is exchanged in the scenes that I feel like that's.
That makes what I do on stage easier.
But it is. It's. It's interesting to not interact with a lot of people, but there's just such a. So much that Allison needs to convey. So that's just what has to happen.
[00:18:10] Speaker A: And you do it all with your face, which is just, like, free. Like, you're just from one second to another, you're, like, one emotion to the other, and it's just all right there. I mean, it's just fantastic to see.
[00:18:20] Speaker B: Exhausting.
[00:18:22] Speaker A: I can imagine after you're done, you're like, good thing this isn't two acts, because.
[00:18:27] Speaker B: Yeah. Although an intermission would be great. Because I don't get to leave the stage, so I don't. Don't get to use the bathroom.
[00:18:36] Speaker A: That would definitely be a challenge, especially when you're. Because you're kind of pushing that two hour mark, you know.
[00:18:43] Speaker B: Now we're 40. We try to keep it, you know. Yeah.
[00:18:48] Speaker A: So for your character, who has gone through a lot of growth, as you can see, from child to teenager, how do you feel like adult Alison grows throughout the show?
[00:19:01] Speaker B: I think it's really a journey of.
I think she's trying, as I think a lot of people do when they lose someone earlier in their life, you know, and you live more than half of your life without a person. You have to think about, how do I want to remember them versus how are they really? And I think that there's a certain protective layer that we put on ourselves to maybe want to forget some of the real person things. Not judgmental. Everyone has, you know, flaws, and everyone has stress. And everyone, you know, like, we're not all our best all the time, but in death, I think we get to think of how we want to remember someone, especially her father has so many transgressions that I think are easy to judge. And I think she, through the process, maybe has some empathy for that, maybe a better understanding of the why, even if she did not agree at all with the. What he did, but maybe she got to understand why he did it. And maybe. I don't know that she. I think in the memoir, I'm thinking she does at times speak like she pitied him, but also she just. I think she really just wanted to uncover the truth. So I think, like, the truth seeking was really something that she wanted to figure out. And so in doing that, I think she just came to a version of her dad that she wanted to keep in her mind. And I think that that is really powerful.
[00:20:42] Speaker A: I think that it sets the tone very well. At the very beginning when you're kind of like holding the. Like the coffee pot from the box or like the tea kettle, and like, that sets the tone of, like, you're having this really good memory of him and you think like, oh, look at this great relationship as you're watching your child self. And then that's. By the end, you're like, oh, that's. That was just one memory.
And like, there was other defining moments of who he was, but, like, it really. That really sets the tone of that balance.
[00:21:09] Speaker B: Mm. Yeah. And I think you just have to settle on something or some acceptance because you can't change their life. And you can't change your relationship as much as maybe you want to. But I think you have to kind of figure out what.
What's worth holding onto or what's worth forgiving. I think finding forgiveness for people is a big part of grief.
And I think that.
I think in this process there was a lot of forgiveness. I would. I would imagine.
[00:21:40] Speaker A: Absolutely.
[00:21:41] Speaker B: And unpacking all of the things that her dad went through in his life and maybe what contributed to his demise even.
[00:21:50] Speaker A: Right, Absolutely. So how do you feel like this show has challenged you as an actor.
[00:21:58] Speaker B: In so many ways.
So many ways.
[00:22:02] Speaker A: I can't pick.
[00:22:04] Speaker B: I think I have not. I've only done. I haven't done anything like this in a long time. I mean, I. When I was in my youth, I was.
Had more principal roles and I was like, used to that feeling or that, you know, being in the spotlight or just having all that pressure even, and I've been so far away from that scene or that feeling that it's like, it. It's a lot of imposter syndrome. Like, oh my gosh, am I really doing this? Is really. Oh, yeah, it's really happening. And I think vocally it was really challenging. Like, I went from, you know, I'm a stay at home mom the last year and a half, and I only listen to what my kids want to listen to on the radio. I have no free time. I was like, not singing at all, which I love to sing, but, you know, it's.
[00:22:54] Speaker A: Right.
[00:22:55] Speaker B: There's not always like, it's baby shark. Yeah, right. But it's.
It really challenged me to get back into singing more, which I've been really thankful for a reason to.
And then also just. It's challenging to balance this in my life because, you know, with community theater, it's like you're people, you have your life outside of it. It's not like you're getting paid. And this is like, you know, you can carve out all this time for all this effort that it takes. But really, truly, I'm just so thankful that I have the support system that I do. My wife is. And my kids are so understanding, but my wife is really so supportive and so excited for me to portray this role.
But it's a challenge to fit in community theater. That's why when you see community theater, you know that people are doing it because they really love it.
[00:23:46] Speaker A: It's a passion project.
[00:23:48] Speaker B: Yeah.
[00:23:49] Speaker A: So final question for you is, what are you hoping audiences take away from Fun Home?
[00:23:55] Speaker B: Oh, you know, I kind of.
I kind of want that to be whatever they need. I don't. I don't have something specific because something that I might say I want people to get from it. It might just not be the most relatable, striking thing for them. And I. I'm not the one to decide that. And I think it's kind of a show that I think you'll take from it what you really need because there's so much to work from. There's so much to take.
I hope that people leave with a sense of, huh. Like, either I wasn't expecting to take that from this, or I didn't know where this was going, or, like, I didn't know that I would feel this way about this specific story and maybe just dig into that a little bit more.
[00:24:51] Speaker A: I love that. That's a great answer. Thank you so much for taking time to talk with us. I know that Fun Home opens this weekend and it runs through November 10th, and we're so excited to see it here. Ridgedale players.com Absolutely. So get your tickets now. Thank you so much, Lori.
[00:25:08] Speaker B: Thank you, Brian.
