Skip to main content

LATEST UPDATES: Tracking COVID-19 (coronavirus)

Visit the Midday Edition homepage

InnerMission's 'Revolt. She Said. Revolt Again.' Aims To Challenge Audiences

We're sorry. This audio clip is no longer available.

September 13, 2018 1:45 p.m.


Kirstiana Rosas, actress, "Revolt. She Said. Revolt Again."

Beth Accomando, KPBS arts reporter

Related Story: InnerMission's 'Revolt. She Said. Revolt Again.' Aims To Challenge Audiences


This is a rush transcript created by a contractor for KPBS to improve accessibility for the deaf and hard-of-hearing. Please refer to the media file as the formal record of this interview. Opinions expressed by guests during interviews reflect the guest’s individual views and do not necessarily represent those of KPBS staff, members or its sponsors.

If you want to sit passively in a theater and watch a play then missions new production of revolt she said. Revolt again is not for you. Intermission describes itself as quote driven to tell stories that grab you and shake your insides. PBS arts reporter Bethann Comando speaks with Christianna roast us one of the actresses in the play Christiane and you're working on a new production for intermission which is called Revolt she said.

Revolt again. This is kind of an experimental piece so explain what people might expect from my gosh anything and everything you can think of.

Other than gun violence will be in this show. It really focuses on all the taboo topics that everybody is really afraid to speak about.

You were shot. It's become more.

Acceptable to discuss these types of topics nowadays. But it's still the way that she does it. The playwright Alice Birch with the text itself it's very blunt. It's very unapologetic and it's. It is the way that it is. And this isn't a matter of opinion. It's just this is how a world. Is seen through these people's eyes. Which is really exciting and really frightening at the same time.

And it's a play that seems to really want to push people's buttons in a certain way so that it's not just actors on a stage kind of interacting with each other but you're trying to engage the audience in thinking very directly about the ideas that you're discussing. Absolutely.

But the way that it is performed in the way that we speak not only to each other but to the audience we're speaking to them because more than anything we really want them to start to open their minds and think that for themselves to stop listening to what other people are telling them and just really taking everything that's happening and going on around them and analyzing and then after that coming to their own conclusion as to what is going on and then then acting upon that.

So if people are coming to this and expecting a traditional play in the sense of characters with names in a very clear kind of linear narrative they're not going to get that. So explain kind of what that theatrical experience is going to be like.

It's very immersed. You're not coming to see a show and this show and to look through the window you're. Coming.

Without knowing that you are participating and then it's up to you as the audience member to really fully immerse yourself into it. We give you the baseline of everything and. The show happens around you it doesn't just happen on the stage you are in it with us. And so at that point you have to make that decision as an audience member. Am I just going to be someone that's going to sit around and watch what's happening. Or am I going to be someone that's not just going to watch but I'm also going to. Try to really understand what's going on and be active within it. There's tons of moments where we're engaging the audience because we genuinely want you to have a response to us and it's really up to them at that point and that's what makes it so exciting because if you're not going to be out for it then we're going to find someone who's ready.

You're performing this diversionary is blackbox theater. So when you talk about this being immersive this is a tiny space so there's really no where for people to go but to be engaged with. So describe what the size of this is.

It's a really small stage. I mean when you talk when we talk about there's really no where. For them to go there's really nowhere for us as the cast to go either. There's moments where you think that we're not something but we're in something and without even realizing it. The audiences also and I mean there's literally seats on part of the stage that the audience will be sitting into. So there's really no way for anyone to go which is really vulnerable and it makes for a very intimate performance and. A very direct message to everyone because it's not.

So much we want you to look from the when you're not on the outside looking in you're in this with us no intermission is really concerned with putting on plays that do have some sort of social component or social commentary. Is that something that attracted you as an actress.

Love that. I mean from the the opening scene of the show. It was just a moment of oh my gosh this isn't your average play. It's not a happy go lucky. I mean there's there's happy moments in that definitely but there's also a lot of truth. Very vulnerable and that's what really draws me towards a play strip you raw and. You rebuild yourself not only just you but with the rest of the ensemble we're all pretty much stripped raw and then we build each other back up. To this point at which it's really empowering and I really appreciate plays that do that and they don't focus upon you know one single narrative and one perspective. This is a play that focuses on all different types of perspectives from the perspective of the man from the perspective of the woman from someone of you know ethnicity different ethnicities different social economic backgrounds. It's a play that anyone and everyone can relate to which really draws me in myself as an actor I'm really drawn to pushing getting to the edge pushing the bar and really pushing people's buttons because I feel like when I would what I want is for people to walk out of the performance. And feel. This new found sense of urgency to want to act. Upon something whether it's. You know. Civil rights or whatever it is animal rights all these different things that are going on in society right now. I just want them to want to actually instead of just saying they want to do something I want them to do it. Now there.

Is a scene where actors are talking on top of each other you have like multiple people on stage with kind of multiple scenes going on simultaneously.

That's not possible.

So how is that as an actor to perform where you're interacting with people who aren't necessarily in your scene. It's so hard it's so hard but it's so exciting and exhilarating because the audience is literally going to be like somebody is saying something over here oh okay and they're going to hear something here.

And then all of a sudden they're gonna go Oh that goes with that. And then before they even know what something else has gone on and they're like crap I'm missing a bunch of stuff. So now at this point I just need to be present and I need to listen. And so it's very much the same state of mind the audience is exactly where I am I've got to figure out where I am what I'm doing who I'm talking to when I'm talking where I'm going and then what's next. All right well thank you very much for your time. Thank you.

That was PBS arts reporter Beth Komando speaking with actress Christina Rosalee's intermissions revolt she said. Revolt again runs through September 29 that diversionary Black Box Theatre.