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The Making of Ghost Rings: Interview with Tina Satter

Posted August 8th, 2017

“There had to be a real patience and generosity on their part. But that kind respect and assuming the best intentions of all involved is always the key to a collaboration as full-on as this was.”

Tina Satter is the artistic director of the Obie-winning theater company Half Straddle. Her work has been described by The New York Times as a “vitalizing blend of coziness and estrangement, weirdness and familiarity.” Her new show, Ghost Rings, coming to the 2017 Fringe Festival, is no exception. Drawing from events of her own life, she uses the format and flow of a pop concert to create a work of theater. On stage the band is made up of two women singers, an additional musician, and Satter herself on drums. Also present are two puppet “Private Inner Beings,” Deer and Seal-y. As the two characters grow up, the show examines their intense relationship, and the oscillating dynamics within deep connections between two people. We had a conversation with Tina Satter about her inspiration for Ghost Rings and the process of putting it together.

FringeArts: Do you remember how the title Ghost Rings came into being? Do you remember where you were?

Tina Satter: Yes, in 2011, I was at a three-day silent writing retreat in upstate New York facilitated by the incredible playwright Erik Ehn. It was through the Pataphysics Playwriting Workshops. I generated some writing there that I’d had no pre-plan for, and it was taking shape in its earliest forms as a conversation between two young women, I didn’t know yet if they were sisters or friends or romantic partners —and in this early writing they were discussing basic things like borrowing a sweater, but then also asking each other dark existential questions—and in that first writing I remember having this thought that there was this kind of candy these girls would eat—I imagined it as pale purple circles and I called the candy Ghost Rings. And then I must have left the retreat titling all that early writing, draft, whatever it was, Ghost Rings, because when we showed the earliest versions of it at CATCH in June 2012, the whole thing was then called Ghost Rings.

FringeArts: Can you discuss the basic creative and narrative starting point for the show?

Tina Satter: Well, I had this very early writing of these two girls discussing these banal and existential questions, and in this very early draft they also each had these inner animals—one girl had a deer who was their corresponding inner animal, and the other had a seal. But I wanted to play with the idea that these weren’t actually cute, cuddly animals—but that they were kind of crass, and direct, and not necessarily mean, but maybe didn’t always offer great advice, that they sort of actually operate like “mean girls” and that the deer in particular wanted to talk about sex and stuff.

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