elizabeth lecompte interview


Because I’m not so good at this, but I love pretending.No, it’s delicious. Or I would leave.EL: No, leave the company. I’d say sorry and they’d put me on postcards. And this company, for a year and a half, included Spalding Gray— so I met him there and then we went together to New York.BLVR: So it was Spalding who led you to the Performance Group.BLVR: What is it about a given play—or source material— that makes you decide to use it as a springboard to create a Wooster piece?EL: It’s different every time. Sometimes I’ll pretend it’s the situation, but it is a specific person. When I’m ready to work, almost anything can become material.

This was during that time, you’re too young to know, when I paid fifteen dollars a month, and we had four people in one railroad flat, so I could afford it. This woman named Spencer started a theater company, so on the weekends I would waitress at the café and then began to become involved in the theater company. It could be the situation. Especially Flemish work—the combination of form, the triptych and those large panels. Whereas with you, everyone who is involved with the project has the right to make a comment about any aspect of the production.BLVR: Whenever you face uncertainty, do you look to your co-creators?EL: Totally. Not only look to them; I demand that they give me something.BLVR: However, you retain the right of “final say.”EL: The freedom. If I say, “Why don’t you do something? Lena would play the big parts, even if she wasn’t right for them.

The person running the whole thing was God up above, looking down. But we never talk about it, and we never sit down at a table and assign roles. was such a great success,” or “BLVR: What, for you, is the purpose of showing a work in progress when you know full well it is not finished?EL: To get audiences down early, to get them in on the process so they want to come back, to keep a profile in our world so people are talking about it and coming to see it, and to make money along the way, to finance the piece. He is the only child of Willem Dafoe whom he had him with his ex-wife Elizabeth LeCompte.Jack Dafoe’s parents, Willem Dafoe and Elizabeth LeCompte lived together for twenty-seven years and raised him.
They let us be who we were. By a lengthy and public creative process that is itself a drama of genius, this troupe of persistent iconoclasts has produced a body of work—including the infamous trilogy, The Road to Immortality—wholly unique to the language of theater. Photo: Zbigniew Bzymek . When they don’t, I’m disturbed, but I keep going.BLVR: Do you imagine how an audience will react to any given event in a piece? And I realized then that I could take multiple ideas, put them next to each other, and connect them. Because the anger usually is coming up against something that the other person isn’t understanding. And I want them to laugh and to cry.

Why do you consistently make this an integral part of the Wooster experience?EL: We always talk about [how] if someone spoke out in the middle of the performance, we’d be able to incorporate it into the show.BLVR: One feature that repeatedly occurs in the group’s work is the superimposition of other source material onto a play’s text: Pigmeat Markham’s vaudeville routines colliding with Wilder’s EL: Well, I think a lot of that has to do with me liking a story.
He put on these strange plays, likeHuge.

It was a different time.

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elizabeth lecompte interview

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