Monday, April 21, 2014

AntiMatter Collective Defines Badass Theater

"...'badass' to me implies a sort of incisive directness and an ability to balance entertainment with a genuine exploration of the things that terrify us..."
                                                 - Adam Scott Mazer
                                             Playwright of The Tower

What is The Tower about?

The Tower is about the Donner Party, a now-legendary group of westward pioneers who got trapped in the Sierra Nevada Mountains in the winter of 1846-47 and had to resort to cannibalism to survive. The play tells the story of two groups - one that sets off across the Sierras on snowshoes in a desperate drive to get help, and another that waits out the winter in makeshift cabins at what is now called Donner Lake. The Tower travels through time, through the hallucinating minds of starving people, and possibly even through death itself, ultimately presenting a strange and possibly unsettling portrait of adolescent America.

What has been its development?

It's been an amazing process! I had the idea to write about the Donner Party several years ago, but it really all started last May. I brought Philip Gates and Maya Rook - the director and dramaturg, respectively - onboard the project before even a word had been written, and we held a two-week developmental workshop with a bunch of amazing actors. Maya - a Ph.D. History Student - lectured on the history of cannibalism and the westward expansion phase of American history and brought in a number of historical documents, which Phil, the cast, and I then staged. We also worked with character-based improv and experimental dance and movement compositions. After our final workshop performance at Five Myles art gallery, I came away with a wealth of amazing material. In the fall, Maya, Phil, and I traveled to Donner Lake to meet with historians and really delve into the energy of the place. That trip jumpstarted my creative drive, and I began writing the actual script shortly thereafter.

What made you interested in writing about the Donner Party?  

It's got a lot of my favorite themes - extreme conditions, mounting desperation, the fractured experience of time, the infinite creative potential of the mind, the fine line between human and animal, and the contrast of the mythic and the mundane - it all seemed like it'd be great fodder for drama.

How did the psychedelic theme in the production develop?

When I originally came up with the idea of writing a play about the Donner Party, I knew almost nothing about the actual history, but I did know that two hours of watching people slowly starve to death does not an interesting play make. I've always enjoyed writing the little bits of psychedelia in my previous plays - Death Valley had a couple bizarre dream sequences, for example - and I knew that I wanted to push myself to expand my creativity in unexpected directions. Because there are so many questions about the Donner Party, not to mention the fact that we'll never know what they were really thinking or feeling, it seemed appropriate to explode the minds of the characters all over the stage.

How does AntiMatter Collective develop/create work?

It varies! This was certainly one of our more collaborative processes, starting without even a script. Each developmental process fits the work being created, but it always involves collaborative discussion and play between the actors, the director, and the writer. I think it's important to keep an open mind about the process by which a play is created - figuring out the "how" is part of the fun!

How did the Collective come into being?


Dan Rogers and I were asked to do a show for Vampire Cowboys' (sadly defunct) SaturdayNight Saloon Series of episodic plays. We came up with the zombie western Death Valley, which got an enormously positive reaction from the Saloon audience. Figuring we had something good going, I reworked the episodes into a full-length script, and Dan and I brought on Will Fulton to co-produce the play in June 2011 at the Bushwick Starr. Figuring any good company needs a name, AntiMatter Collective was born!

On the AntiMatter Collective website it says, "We make badass theater that you will enjoy." What makes the theater you create 'badass?'

Well, in our longer mission statement, we use the word "unflinching," which I think gets a little more at what you're asking about. AntiMatter is unafraid to tackle big, terrifying themes and subject matter that might not usually be seen on the stage (our past shows have included zombies, the devil, and the robot apocalypse, respectively). But more than that, "badass" to me implies a sort of incisive directness and an ability to balance entertainment with a genuine exploration of the things that terrify us - death being foremost amongst them. We'll always give you a good night at the theater, but the dreams you have afterward might not be so pleasant.

What other productions have you worked on with the AntiMatter Collective?

All of 'em! I wrote our first show, Death Valley, and our last show, Motherboard. Between those two, I performed in Gregory S. Moss's sixsixsix, which we staged as a double feature with an H.P. Lovecraft adaptation, all under the title Demonology.

What's next?

Sleep, dinner, and a party or two. I've found that the whole "one show a year" model of independent theater companies doesn't work for us - at least not yet.  I much prefer to take a little more time with development, so we can make sure the shows are rock solid when we do produce them. I have a few ideas of what AntiMatter's next project could be, but I'm looking forward to taking a couple months to relax and recharge first.

Salty or sweet?

Salted Caramel - in classic American fashion, I want it all at the same time.

The Tower is playing at StandardToyKraft (722 Metropolitan Ave.) until April 26th. For tickets and more information click here.

Sunday, March 16, 2014

Get Wild! - An Interview with Director Evan Caccioppoli


"I am interested in telling stories of my generation..."
-Director Evan Caccioppoli


How did you get involved in the Sanguine Theatre Company's production of Crystal Skillman's WILD?

WILD came about when I was looking for a play to bring back to Chicago, where I had gone to undergrad. I was working a lot with Daniel Talbott (Artistic Director for Rising Phoenix Rep) and he recommended Crystal Skillman, so we met, and had coffee, and she send me a bunch of stuff, and there was a ten minute play (now the second scene of WILD) that was written for a site-specific class taught by Daniel at ESPA. It was done originally in DUMBO between two men, played, in this production, by Hunter Canning and Jeff Ronan. (Hunter had done the ten minute scene originally in Daniel's class, as well.)

Based on that ten-minute scene, I commissioned her to develop a full-length play because I am interested in exploring stories of my generation, not the kind of whining, 'I just got out of college and can't get a job' stories, but some of the things my generation is dealing with, i.e., long term relationships, and how relationships and people change after college, and here in that scene, it was happening in such a unique way, and I definitely wanted to know more about those two characters and so did Crystal.

How did you two work together to develop the play?


Crystal and I would meet about every two weeks at coffee shops (which was convenient because we live in the same neighborhood in Brooklyn) and she'd bring or email scenes and we'd talk about it. Not only did it
nurture the play, but it also nurtured our friendship. We talked about our lives and families, and where we were, and I think a lot of that went into the play. She would write. I'd ask questions. She'd ask me questions, like what I was thinking, and it became an amazing conversation between us. I had never had this experience before. It was so much more collaborative. I always thought I just had to figure out work on my own.



We rehearsed it in three weeks and did it in 7 performances in a 30-seat house. Some days, we sold out, other days there were 10 people in the audience but it was the greatest learning experience of my life so far as an artist - just tell interesting stories and not following someone else's rules.

So in August 2011, we started to work together, then in January 2012, we did a table read with actress Diana Stahl, (who is now in the production and has been in every workshop/reading except for the Chicago production). Then, I flew off to Chicago to do it there at Angel Island Theater, which is a storefront theater. We did a three-week run over June and July, 2012. That is my bi-eastcoast/mid-westal dream, Chicago and New York so that I can grow my voice and Kid Brooklyn Production's voice in both cities.

How did Kid Brooklyn Productions come about?

I graduated college trained as an actor but knew I wanted to direct and applied to a ton of apprenticeships but got none, so I looked to my theatrical heroes, like the Steppenwolf Ensemble who were committed to doing their work from day one regardless. So I thought I'm going to somehow put up a production of my own, even if it's only for a one-week run. This was 2011. The show went up in March/April 2011 and was the American Premiere of UNBROKEN by Alexandria Wood.

How did you come across that play?

Evan Caccioppoli
I had gone to London visiting friends and one of my favorite things is to go to the National Bookstore to buy things that look interesting and I bought five plays that I knew nothing about by London playwrights. I was looking for something interesting to explore and good for a first production, something smaller and UNBROKEN was a really short play. The script is only about 42 pages, and I felt like I could do it really simply with no money, so I contacted her agent and they said her work has never been done in America but if you're interested, she'll give you her world premier so we did it.

What's next?

Next is Encounters: the la ronde project which is a modern adaptation of Schnitzler's play. Kid Brooklyn Productions has commissioned nine playwrights (Micheline Auger, Evan F. Caccioppoli, Troy Deutsch, Emily DeVoti, Nic Grelli, Charlotte Miller, Kristen Palmer, Sarah Shaefer, Crystal Skillman, and Ken Urban) to each write part of this theatrical series of encounters between different couplings in modern day New York. It'll be done at June 26 to July 6 at IRT.

The goal of the KB Lab Series is to offer a safe and creative developmental environment for new work. Each playwright/director will be given two weeks rehearsal, minimal technical aspects, and three to four performances in front of an audience.

Then in the winter of 2014, our goal is to put up the world premiere of a play we've commissioned from Sarah Shaefer called ALL'S WELL THAT ENDS HAPPY.  I have several other projects I'm developing that I'm excited about! I'm also heading to grad school in the fall to get my MFA in Directing at The Actors Studio Drama School at Pace University. Kid Brooklyn is also always looking for new plays, so playwrights email us your work!

 
Performances of WILD run now through April 6, Thursday through Saturday at 8:00 pm and Sunday at 3:00 pm at IRT Theater (154 Christopher Street, between Washington St. & Greenwich St.). Tickets are $15 in advance ($18 at the door) and available at www.brownpapertickets.com or by calling 800-838-3006.

Thursday, February 20, 2014

Director Jenna Worsham talks about Middle Voice's Room for One

Jenna Worsham
"My approach is to always ask whose story we're telling for any given moment..."
- Jenna Worsham, 
Director 

How did you become involved in Room for One?

Alec (Silberblatt) and I first met in 2012, when he joined The Middle Voice Theater Company. I knew him first as a gifted actor, as well as an invaluable company member (he was the production assistant on the last show I directed, and I don't know what I would have done without him). I was first introduced to his writing when we did a workshop of a very early draft of this play, I think it was over a year ago. I immediately responded to his rhythm, his perspective, and his style-- I thought "I want to work with him." I don't know if I've ever met anyone as self-less as Alec, who is at the same time uniquely talented and possesses conviction. I think that kind of person is very rare. 

What is your approach to collaboration and working with a playwright?

I love playwrights. My approach is to first see if I'm a good fit for them - which is not very difficult when I ask myself if I respond to their voice. Does their rhythm, their style fascinate and excite me? Am I compelled by the questions they ask and the stories they choose to tell? Will my own voice compliment theirs? I'm very straightforward as a director, which I think also makes it easy for them to know early on if we're a good fit for their work. I think if you're a good match, beat for beat, then collaboration is a natural dialogue between you. I guess you could say my approach is to always ask whose story we're telling for any given moment in a play, and if the playwright agrees (or agrees after a conversation is had) then it's the right story. 

How did you come to directing?

I switched to theater half-way through college (I'd started pre-med so it was a bit of a turnaround). I wasn't really sure what I was going to do with it, I just knew I belonged on that side of campus. Then my junior year I directed a one-act, which I thought was the most brilliant thing ever, anywhere. In retrospect it was terrifying and I'm glad it wasn't recorded. But I still remember that feeling opening night, when people saw the thing we'd made, the thing I'd envisioned, and I remember feeling the wave of the audience react to the story I'd crafted. I felt them laugh and I felt them be moved, and most of all I felt them understand. It was like I'd finally discovered how to articulate myself. It was odd and fantastic. And I said "This is me. This is what I'm going to do." I liked to tell human stories and I liked to live in them, but the thing I liked most was to do both-- and that I think is what directors do. 

How do you approach your career?

Right now I'm 25, so my main approach is to say yes. Whatever comes my way. And I've been really lucky with assisting opportunities, and getting to learn from some of the best directors in the business. Working with The Middle Voice has also given me the space to discover my craft in ways I think young directors really need, and rarely get. 

What's next?

What's literally next: I'm assisting Pam Mackinnon on a new play at MTC this spring. Very very ecstatic about that. And I'll be co-directing an imaginative and nontraditional production of Twelfth Night with the remarkable Daniel Talbott this spring/summer/fall. It's a co-production with Rising Phoenix Rep and The Middle Voice, and I can't wait to dive in! 

 Performances begin at 8pm on Wednesday through Saturday, with additional performances at 1pm on Saturday and 3pm on Sunday. Tickets can be reserved at www.roomforone.eventbrite.com and/or by emailing Jaime Jaget at jjaget@rattlestick.org. All tickets are free with a suggested donation of $5. Tom Noonan's Paradise Factory is located at 64 East 4th St b/t Bowery Street & 2nd Avenue.

Wednesday, February 19, 2014

Middle Voice's New Play "Room For One" has Room For Us All

"It's about lonely people.  It's about how scary the world can be when things change in it.  It's about family and panic and passion and regret."
-Alec Silberblatt
Playwright

What was Room for One's inspiration?

I had just moved to New York and everything was quite big and it was summer so everything everywhere was hot.  And I got a job at a fancy French bar that had just opened, and if there's one place I don't belong it's at a fancy French bar at three in the morning.  I was scared all the time, I had no idea if what I was doing was right, and I called home a lot.

How did you get involved in the theater?

My grandma took me to shows when I was little in Pittsburgh.  I started auditioning for little shows here and there and got in one and had a blast.  Everyone was like me, and I felt safe and happy.


We're the apprentice company at Rattlestick Playwrights Theater.  We're a collection of writers, actors, directors, designers from all different backgrounds and places.  The whole idea is that we give voices to those who don't get heard.

What was the development for Room for One?

After I wrote the first draft, I had several workshops spanning over a year with the wonderful director Jenna Worsham.  We'd meet every few months with, mostly, a new cast, and work on the play.  I'd hear it, Jenna would point things out, I'd go home and re-write furiously.

How did you and Jenna your director collaborate?

I've sort of gotten to know Jenna through working on this play.  I met her as a result of being brought into the Middle Voice and having the play workshopped.  I trust her immensely because of that, and we've gotten to see each other grow as the play grows.  Usually, I'll write something and bring it in and she'll stage it, and as we stage we'll see what works and what doesn't.  She's smart as hell.  She see's things I don't.  It's easier for her to be objective.

What is your writing schedule?

I write at night or in the morning.  I try and write something everyday.

How do you approach your career (organizationally, the things you do etc)?

I do everything I can.  Your career is what you're doing right now.  I just want to work.  I want to get better. As an actor, I look for good writing.  As a writer, I'm always writing.

What's next?

I'll be working as an actor in Twelfth Night with Middle Voice and Rising Phoenix Rep.

Performances begin at 8pm on Wednesday through Saturday, with additional performances at 1pm on Saturday and 3pm on Sunday. Tickets can be reserved at www.roomforone.eventbrite.com and/or by emailing Jaime Jaget at jjaget@rattlestick.org. All tickets are free with a suggested donation of $5. Tom Noonan's Paradise Factory is located at 64 East 4th St b/t Bowery Street & 2nd Avenue.

Wednesday, November 20, 2013

The Drunk Girls in Heels on Unlimited Champagne Brunches, Drunk Proverbs, and Writing Their Own Web Series




"But then she got wasted and texted me later that she had gone to the grocery store and just bought a sheet cake. "
-DGIH
 
Recently, Theaterspeak Editorial Assistant Charlotte Brook sat down with the ladies of the new web series, Drunk Girls in Heels, to discuss how they created, wrote, and starred in their own original web series.

What is Drunk Girls in Heels (or DGIH for short)?

Julia Sherman: Drunk Girls in Heels is a web series, a pretty incredible web series, if I do say so myself, that is about three women in their mid-twenties just trying to navigate this crazy, unlimited-champagne-brunch world.

Nora Fullmoon: How we describe it on our website is, “A web series now, a lifestyle always.” It’s really a mind-set, a perspective!

Julia: It’s about having fun and friendship.

Nora: And about looking good! Wanting to strut yourself in New York City.

Keely Flaherty: It’s about fashionable alcoholism.

So along with the web series, what else does your group do?

Keely: It started off as a twitter that we all kind of wrote on our own (@DGIHTweets). 

Julia: Our tweets are like drunk proverbs. 

How did it begin? What has the developmental process been? 

Julia: I was out one night at Crocodile Lounge, and I saw - across the street at Artichoke Pizza - another staple, this very drunk girl in huge heels, and she was falling. But she was trying very hard to turn this fall into a turn; she tried to melt to the ground a little bit, as if she meant to do it. And then her friends are sitting there in line telling people, “Go around, just go around”. And she’s just sitting there on the ground saying, “I’m fineeeeeeee”. And I was just thinking that’s hilarious! That’s a drunk girl in heels, which is a term Nora had come up with a few weeks before. She used to joke that that was going to be her memoir titles; sorry I stole it! 

Nora: You know with your friends how you have those inside jokes and when you say them you know what you’re talking about? So, for us, we would always go out and be like “drunk girl in heels, drunk girl in heels” so it became this kind of mantra. 

Keely: Our ultimate hope is that it becomes an exhibit at MOMA. Just like one girl perpetually falling yelling “just go around, just go around”. That’s when you know.

Julia: And then, from there, I would say a large part of it came out of desperation to just make our own thing. 

Keely: Yeah, post-graduation, “What do I do now?” There’s not like a set structure for it. 

Julia: It’s like, 'I have a theater degree and a day job that I don’t like, what do I do now? How do I deal with this?' You make web series about getting drunk with your friends. 

How did you guys meet and decide to work together?

Keely: Well Nora and Julia were…born together!

Nora: We are basically Siamese twins. 

Keely: One of the first interactions I had with Julia was at a party and I was like “You’re Nora right?” and she was like “Close enough”. 

Nora: Yeah, we were roommates at NYU and then obviously they [Julia and Keely] met at a party…

Keely: Julia and I met because we both slept with the same person (laughs from all]. But that was way before Drunk Girls in Heels. We’re all connected through NYU. 

Nora: And then we [Julia and Nora] were talking about doing Drunk Girls in Heels and we decided we needed somebody else because we realized we’re Siamese twins and we need somebody to cut us apart. So Keely has this hilarious blog and Julia had read it, and I read it, and we were like, 'this chick is so funny. Let’s be best friends.'

Julia: So we were like, 'let’s go out to brunch!'
And at brunch Keely was like, 'I’m not going to drink because I have things to do today.' But then she got wasted and texted me later that she had gone to the grocery store and just bought a sheet cake. 

When did Drunk Girls in Heels start?

Julia: I know we had our first writer’s meeting on a Valentine’s Day. 

Nora: Obviously a sign that we had nothing going on in our lives!

Julia: [to Keely] You had a boyfriend!

Keely: Yeah, I was even in a relationship at that point which is even sadder. I don’t even remember it being a big deal that I was out on Valentine’s Day with two women getting drunk. 

Julia: Nora and I started talking about it in January of this year. We started writing it in February. 

Nora: We had the whole series written by…March 30th. I just have a feeling that it was that day. For some reason I just know it was March 30th

Julia: Then we started workshopping it from there. And we shot it in four days in July and had it up by September. 

What was the workshopping process like?

Nora: We’d have people come over for brunch and then were like “Here, read this!” 

Julia: The key is if you offer anyone alcohol, they’ll read anything. 

Nora: I must say at writer’s meetings there should always be alcohol. Hemmingway knew it. And look where he is now! 

Julia: And then we had rehearsals too, which I think is why we were able to do it in such a short amount of time. We had people reading for their characters for a couple of months, so it was a good way for us to see where the character was going and for them to get a sense of what we were trying to do.

Was it all written beforehand or was there improvising on set?

Keely: I would say it was a mixture. We definitely had a script for every episode. Some of the lines are improvised; it’s not an improv-based show, but we are really lucky to have improvisers in the cast. 

Julia: That’s another reason why we had rehearsals, to give everyone the time to improvise with it. 

Nora: A lot of the lines came from that. 

Keely: Claudia and Angie [two characters on the show] are completely Anna Drezen and Ryann Weir just doing weird improvising. 

Julia: They were so funny; they would sit on set and just improvise in character, not shooting anything. They would just be in the green room like eating or getting their make-up done. And it was so funny to have people that were that into their characters. And when they came on they just nailed it. 

DGIH #workspace
You have the first season up online, and I hear there’s a second one coming. Can you talk about the next season?

[Girls shake their heads.]
 Keely: We can’t let our 300 twitter followers know anything! [They laugh]

Julia: I’ll say this, we pick up after Jen’s wedding. And it’s going to be a crazy season. We explore a little more with other Drunk Girl’s in Heels. So we get a little insight into other people’s nights out. 

Keely: And Julia has the very good idea of breaking form a little bit from the first season, so we’re really interested in making it a little weirder. 

Julia: And we’re looking to shoot next summer, so we’re going to give a year to work on it and do live shows. 

How did you find the people that you worked with when filming?

Julia: I have a friend, Morgan Evans, who directed three of the episodes, who was the one who encouraged me to write something. He’s an incredible guy and very well connected, and he went to SVA [School of Visual Arts]. And so I messaged him and was like, “Do you know any female DPs? Because we want a girl” [Drunk Girls in Heels features a mostly female cast and crew], and he put up a Facebook post saying “name your favorite female DPs: Go!” That’s how he got Kali’s name [Kali Riley, Director of Photographer], so he didn’t actually know Kali. From her, and sort of between the two of them, we were able to build this team, and then we got them all in the same room, and they all knew each other! 

Keely: Because they all went to SVA. 

Nora: We met with Kali the most out of the crew, and we met the crew one time before filming and by the end of the four days these people were are family! We made a baby together. 

Keely: A drunk baby.

Do you hope to use the same group next summer?

Julia: Definitely. They were a huge part; we never would have been able to do it without them.

Nora: And they made it so fun! This was our first time really being on a film set for this long, I mean we’ve all done little things here and there, but they were so confident in what they did that they calmed us all down. 

Julia: And we were never in crisis mode, which I think was the best part about it. That really stood out to me as the difference between working in theater and working on a film set. We never had this moment of…

Keely: …this might not happen. 

Julia: It became about problem-solving and not about panicking. Which was like really exciting and made challenges seem…

Nora: …fun. Like you learned a lot from dealing with things. And that’s why we’re really excited for second season because we know so much more.

Keely: I just hope we can get them all back! 

Julia: We’re just going to have to pay them…If anybody has any money they would like to pay us…

Nora: We really want to work with these people forever!

Julia: And they deserve all the money in the world. 

Keely: They really do. 

What would you recommend to other artists thinking of creating their own web series?


Nora: I would say that it’s very similar to this, what I learned in college in this class called Writing the Essay [laughs from the others], which is write about something you love and then it won’t be hard. So I would say the number one thing when you go in to do a web series is don’t do a web series for anything else other than for what you love.

Keely: Don’t do something because it’s marketable. Do it because it’s you! 

Nora: And it doesn’t matter what happens to it. And a lot of times you can sense when people put their heart and soul in something.

Julia: And bring on people from the get-go. I think the thing that really set us up for success was the fact that we reached out to the right people early on, saying here’s what we’re trying to do, we want you to be a part of it. Are you interested? When people feel investment in something, their going to work their hardest on it because what it became was a risky project for everyone. I think that made everyone excited for working on it. And it felt like everyone had a connection to it, I think…I hope! 

Nora: Nobody would film in four days if they didn’t love what we were doing. 

Keely: I definitely think that’s true. You just can’t be too inclusive. I think anyone who wants to be involved, should be involved! 

Nora: Because you always need help. It’s about friendship! 

Julia: And you know it was about, as someone coming from the theater-world trying to do something in this world, the film world, it’s totally about reaching out to people who know more than you do. The first thing I would say to people, and maybe it’s not a very professional approach, but I would say to people “I don’t know what I’m doing!” I don’t but I have this idea, if you like it, will you help us? You’d be surprised how many people there are out there who’d be like I like that idea too, let’s get down. Let’s do it!

Nora: People want to help. And they especially want to help if you ask for their help. And that was an amazing part of this: finding out how helpful people want to be. That’s why we’re all in this! We’re all in this for friends. You know, we just want to build families. 

Julia: Not Keely. Keely’s in it for bitches and money! 

What else is coming up for DGIH?

Julia: We have this show coming up on the 21st [of November]. It’s at the People’s Improv Theatre at 11 PM. It’s $8, and it’s a killer line-up. 

Keely: It’s seriously such a good line-up. It’s amazing all of the people betwixt the three of us, like all of the talent that we know.

Nora: It’s just you two, I don’t know anyone. [they all laugh]

Keely: It’s great to get to host something because then you get to include people that are much more talented than you. And like the pressure is off! You’re no longer competing, you’re just showcasing. 

Julia: This isn’t one hundred percent confirmed yet, but it’s in the works that it will be live-streamed on Daily Motion, so if you can’t make it to the show, you can watch it online. And then we’re going to have two more shows this year after that, on December 5th and 19th at 11pm, also at the People’s Improv Theatre and those shows will also be live-streamed as well. 

Nora: Tell them who’s in the line-up!

Julia: We have Jermain Fowler from MTV’s Guy Code doing a stand-up set. He’s really funny. Our special guests for the night are Ashley Skidmoore and Lyle Friedman from the web series Hot Mess Moves, they’re hysterical! 

Keely: They’re very funny and very weird.

Julia: And then we have two improv groups that are going to improv off of the interview that we’re going to do with the Hot Mess Moves girls, which are Gentleman Party

Keely: …who are phenomenally funny…

Julia: …and Shadows

Keely: …also phenomenal!

Julia: Just two groups of cute boys.

Keely: Yeah, it’s just a bunch of hot guys! We’re working on interview questions for Hot Mess Moves, but I know for a fact that their will be two stories about vomiting in purses in cabs. One from our side and one from the Hot Mess Moves side.
 
Salty or sweet?

Keely: Well that’s a loaded question!

Nora: I have an answer, chocolate covered…

Keely:…bacon?...

Nora: …lays potato chips. 

Julia: Both! On a pizza. 

Nora: In a taco! 

Is there anything you’d like to add?

Julia: We’re currently looking for a hot dog sponsor. 

Keely: That’s really funny actually, a random person read the interview that we wrote and was like is your web series about hot dogs? And I was like, 'did you read the whole article?' I mean, in a way, it is. 

Julia: Hot dogs…Talk about salty and sweet. I retract my previous answer and just say chocolate covered hot dogs.