Tell us a little about your play, They're Just Like Us. Namely, who are "they" and how are they like "us"?
They’re Just Like Us is a dark comedy that was produced by CollaborationTown in April of 2006. They’re Just Like Us explores our culture’s obsession with media, celebrity, and high technology and how these obsessions diminish the ability to actually connect and communicate. It focuses on the human desire to not only be noticed, but remembered, and the desperation that often accompanies the efforts to achieve those goals.
When I first moved to New York, I became increasingly bothered by the conversations I found myself having. I started noticing patterns: everyone always had somewhere to be, there was always a report of “what I have been up to,” name-dropping was a constant, and there always seemed to be a lack of sincerity and true communication. Equally grotesque and fascinating, I began to see these patterns everywhere. I realized how easy it had become in our culture for us to dismiss one another and run off to the next big thing. I saw this behavior at its most extreme in people my own age, the media, and in the celebrity way of life (at least as reported by US Weekly). I saw people from all walks of life reduced to headlines and it broke my heart. I saw people willing to do anything to make people remember them once they had departed “the scene.” I was captivated by the efforts, determination, desire, desperation, and commitment that we utilize to make some sort of lasting impression and that drove me to ask questions in an attempt to understand people’s motivations and actions.
Like several other playwrights in this year's anthology, you are an alumni of the New York International Fringe Festival. How was the FringeNYC experience for you?
I have participated in two FringeNYC Festivals since moving to New York. Both times, it has been a very educational experience. I think FringeNYC creates a great support system for artists and theatre companies. Participating in the Fringe definitely gives you exposure to other exciting theatre makers. There are a good amount of audience members who go and see things just because they are associated with FringeNYC, so in that way, it is a great opportunity for companies and artists to introduce their material to a new group of theatre goers. There is also such a great sense of fun that is associated with FringeNYC. You sort of have to just say, "That's okay--we don’t have lights, we have ten minutes to set up—it's the Fringe!" and there is a nice bit of freedom that comes with that.
I understand that you've been interested in doing theatre since you were very young. How young, and how did you first get started?
Oh, the moment I was born...seriously, I really can’t remember ever wanting to do anything else. I first got started on my front porch. I would make up shows and the neighborhood would come and see them. All the kids in the neighborhood were involved. I would write the play, direct it, and perform in it. There was usually always some sort of dramatic death scene... and I believe I was pretty much always the one who died. There was also always a song... and I believe I was pretty much always the one who sang it. I believe this started around age five. When I got a little older, I got very involved in community theatre and found sort of a second family through that. I also wrote plays for school and all that good stuff. I was very lucky to have grown up in the South, where I was surrounded by very funny people and incredible storytellers. I am also lucky to have had a very supportive family who always took me to dance classes and sat through my plays and sent me to art school.
You've said that your reasons for first getting into show business change every couple of years. How so, and what are some of those reasons?
I think I first got involved in show business because I just loved it. I loved everything about it. As I got older, I began to realize how important theatre and the arts are to our world. That got me really excited—it's something that I love and it can make a positive difference! I think I was like, fifteen when I discovered that and I was just thrilled... I had a bumper sticker on my first car that said "Artist." Right next to a bumper sticker that said "Question Reality." I really began to believe in the arts and the power that theatre has. My belief in that power gets stronger and stronger with each passing year. I don’t know, then there are little different reasons every now and then... little things that inspire me in different ways. Right now, considering the state that our world and country is in, I am more proud to be an artist than I have ever been.
Another reason I have gone into the arts is fairly obvious—MONEY. I AM MAKING TONS OF MONEY. Really, the main reason for all of this is for the financial security and stability that comes with being involved in Off-Off Broadway and a founding member of a non-profit theatre company.
You are one of the members of the theatre company CollaborationTown. Can you give us a little background on the company, and how it got started?
CollaborationTown is a non-profit theatre company that I founded in 2003 with five other Boston University graduates. CollaborationTown is fully committed to the creation of theatrically compelling new work, developed and influenced by a consistent ensemble. All six of us were involved in the Theatre Studies Program at Boston University. The program focuses on all aspects of creating theatre and we had many classes rooted in the idea of theatre ensemble. The six of us all shared a similar aesthetic and we began to create pieces of new work while at Boston University. We had some really amazing experiences doing that and wanted to continue to work together for the rest of our lives. We were in a diner in Boston one morning and we were all talking and the subject of starting a company came up and we all got really excited. I remember at that moment the fear of "Oh my GOD, what am I gonna do with a Bachelor of Fine Arts in Theatre?" went away and I just knew that we were really going to do this and that it was the absolute right thing. It made complete sense. It's funny, because there are times when we will all be meeting and talking about plans and projects and I can still feel that excitement that we felt years ago in that diner.
What's next on the horizon for you and CollaborationTown?
CollaborationTown is doing 6969, a new play by Jordan Seavey. 6969 is being done at 59e59 theatres from February 9-24—check www.collaborationtown.org for more details. 6969 is a haunting play based on shocking true events, written by a very gifted young playwright. I will be performing in this piece and I choreographed it, as well. After that we go to Robert Wilson's pad in the Hamptons for a two-week residency. This summer, we are participating in Suzan-Lori Parks and the Public's 365 Plays/Days Event, and in the fall of 2007 we are going to be doing a new piece of work at LaMaMa... lots of exciting stuff!
Interview with Boo Killebrew was conducted by Michael Criscuolo February 2007.