3: Guest: Dr. Anne-Liese Fox and Travis Nevers

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Good day. This is Amber Narro on KSLUs 90 point 9 The Lion with my sweet friend Anne-Liese Fox, and you have brought a fantastic student with you today who is a theater major as well as somebody who kind of experienced the old part of living in Cardinal Newman and trying to move around at different theaters and maybe the parking lots and all kinds of other things and now has come to the brand new Bonnie Borden Theater in Dee Vickers Hall. Welcome, welcome. Thank you. Yes.

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Okay, so first of all, me to your student.

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Yes, so this is Travis Nevers, Travis is a theater major, and, yes, and we’re opening, Katrina’s path in a brand new studio, black box studio space. DVS. Black box?

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What does this black box mean? Well What is this?

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It’s a flexible space, definitely more intimate, like, for example, we might have a 100, a 120 audience members tops. And Vonnie, we’re still waiting for her to open, but she will be very soon.

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So she’s not open yet?

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Not yet. Not yet. Okay. Yeah. There’s, yeah, there’s lots But the building is open.

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Why isn’t the theater open?

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It just takes time.

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Yes, indeed.

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We’re so happy to have our own space

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with this

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new studio space, and I love studio spaces. You can, have a much more intimate kind of relationship with the audience, and it’s a fantastic room to teach performance. So And now Yeah.

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Anne-Liese, Doctor Fox, by the way, just so you guys know that she has been, like, all over the world studying theater. France, lived in France for a little while, has has kind of circled the globe and definitely the nation and doing shows all over the place. I totally respect your work, number one. Thank you. And I I think the thing that I’ve gotten to know over interviewing you for the last couple of years, and I’m just gonna put this on you and that’s just too bad, but I think that you really you just said what you do is kind of embrace a space and get close to your audience.

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Right? You did that when you put together the show in the parking lot when, COVID was happening. You did it at Reimers. You’ve done it at different theaters across this city and really kind of celebrated getting close and in people’s faces with theater. Talk to me about what that experience has been like through these challenges, still, you know, staying true to that part of your artistic need to be in the audience, really.

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So I did a lot of nontraditional theater space performing before. One of my solo shows was in my car where I I would drove up to the audience and performed in, on, on top of, around my car, and then I I would take audience members into my car and drive off with them. So it’s nontraditional spaces were in my wheelhouse, and that I think helped to see what are some creative opportunities that we have.

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What’s that comedian that does the car karaoke?

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What’s his name?

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Jimmy Fallon.

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I don’t know. It’s not.

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No. No. It’s, I it’s coming to me. It’ll be it’ll be here in a second.

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But doesn’t he do something like that, though?

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Yeah. Jimmy Fallon is more the thank you notes guy. Right?

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the the guy I’m thinking of, he’s, he’s off now. He’s not on air anymore.

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I saw that before.

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Yeah. It’ll come to me in just a second. He’s James Corden.

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That’s it. Yes.

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It’s the idea of We have the opportunity here with participation in a more immersive theater experience. So for example, Travis played Creon in the Antigone that we adapted last spring. And that we did right outside a puddle under the line And of oak that was really, it was really lovely to do it outside in the spring, And so Travis was a part of that and he was also in the writing group because I had students write the Coral Odes in between scenes. So that part has been good. And I did think that we had an opportunity with the closure of our interior space of the Bonnie Borden to be in the community of Hammond and to open up more to the community of Hammond to invite and let them be more aware of what we’re doing here at Southeastern Theater.

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Very good. Now, Travis, you’ve been here at Southeastern for how long?

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This is my fourth semester on campus.

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Okay. So you have been through our roller coaster with us where we have, had had been unfortunately mother nature kicked us out of our building in about 2021 in that fall. I feel like

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I you was not here yet.

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Not here yet. Okay. I was about to say it might have been a little bit before you.

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Right.

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But, but you have entered this space while we have been all over the place. Yes. So tell me about your experience being a student here during this time where we were a little displaced.

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Well, can tell you and especially as a non traditional student, I am 39, I’ll be 40 in February.

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Well, you’re a good looking 40.

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Oh, thank you. And I’m not only new to this space, but also very new to theater. Mhmm. This is something I wanted to do, I wanted to embrace the creative lifestyle, creative juices in my brain for a long time.

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Yeah.

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And being able to do that and with with everybody, it just, it feels natural. It doesn’t feel off to me. It’s like, oh, okay, we’re, I think we call that in the intro to theater class, the found spaces, and I’m really enjoying them.

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I think that’s probably music to your ears that you you’ve heard somebody say, I’m not in this space, but I really kinda this feels this feels natural. Right? Because I think that that’s probably what you were trying to do the entire time was create a real theater academic experience for these students even in this challenging time. So congratulations.

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Well, thank you.

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That’s great. I love it. I love that.

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But it does I have to say, sure does feel good to be in this new D. Vickers studio space. It’s a beautiful room to teach performance in. My we have this whole space for movement, and we it’s it really feels great to have a room that really supports that kind of work. And it’ll be, an extra challenge to outfit it, to get it ready for performance.

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But already for the next show we’re doing, we’re gonna open with Katrina’s Path. We have a student scenic designer who’s incredibly Yes. Creative.

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Amazing.

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And even with the limited space that we have in this little studio, she’s making an incredible immersive sculptural, environment that really captures that aftermath of Katrina. Mhmm. And not just, piles of debris, but the humor and sarcasm that was all over people’s lawns and refrigerators, messages of where is FEMA.

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Yeah.

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And the humor that really got us through that time, New Orleanians. So I I really appreciate the research and creativity that our Scenic Designer, Madison Hopkraft, has has put into our Scenic Design.

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Now you said before we started, I caught that Katrina brought you here Yes. Then. Okay. So I don’t know if we’ve ever really explored that in our interviews with each other. I knew that you came here and you came here with this beautiful academic background, all of these wonderful experiences, I’ve kind of dived into some of those things with you.

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What, what really brought you here? Here it

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is. So I was living in Lakeview, New Orleans, and I’m actually from that area. Yeah. And I had a baby and a toddler.

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Stop.

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And the levee levees broke. We had 13 feet of water in our house. And so we had two we had a credit card, and we bought a trailer on a credit card and stayed at Yostleader.

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That is what we do. And that is See, this is why she can put on a show in a parking lot Didn’t die. Because she puts a trailer on a credit card. And that’s what we did, and we listen I feel like that’s a country song. I I know that trailer on the credit card.

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Everything’s gone.

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I have the lyrics to

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you, We and we still have our love. Yes.

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And so we, you know, we were grateful. I mean, at the end of the day, when I saw what our house looked like after they, you know, my refrigerator on the second of my home, the just, I didn’t cry when I walked in, we had an axe and we broke through the door about three weeks after the storm. I didn’t cry because it was just too awe inspiring, the the disaster and just how you know, I remember this huge debris pile in Lakeview that was about a mile long and 10 stories high. It was crazy. It was the the interior contents of everyone’s home was bulldozed into this median, you know, the neutral ground, and it was just awe inspiring and stinky and awful.

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And, you know, really, my child was three and he was very upset by it, so I tried to not have him come home.

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Sure.

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You know, he was even the North Shore, he was upset because trees were down, and I was like, I knew he really shouldn’t see our neighborhood. Mhmm. And we we had we had neighbors that pair elder neighbor perished. Yeah. It was really rough.

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And Facebook wasn’t a thing. So during those weeks, you know, you didn’t really know, did my friends survive? Are they okay? You know, because we didn’t have Facebook or Instagram.

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Or cell phones.

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Yeah. I didn’t know Why? Text Yeah. Until Katrina.

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That’s when we learned. Right. Yeah.

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So it’s really fascinating to me, to be creating a piece talking about this time now with students, and I have some older actors that are, playing elder roles. Robert Mitchell is a New Orleanian professional actor, and Donna Gay Anderson is a professional actor. But my the students participating in this were young or not born, but they’re telling they’ve grown up with these stories and they’re telling it. But I I my husband was like, we’re not going back. And I I understood that.

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And, so he thought to relocate his business in Hammond. And I was thinking, well, what am I gonna do? Because it’s really hard to do theater anyway when you’re a mom. Theater time is baby time. So I said, okay, I’ll get a doctorate.

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So that’s what I I worked on my doctorate while my children were really, really small and we were settling here in Robert, Louisiana. And but it did put me on a different path.

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Yeah.

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I was an adjunct at Tulane in Loyola, and I enjoyed that very much. And I think that the storm, although it was traumatizing and horrible, it did put me on a new path that made me I learned so much pursuing my doctorate and really got to dig deep into my practice as an artist. And here

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I am, and Doctor. And Miller, now you’re about to tell the story with Katrina’s Path, and this is a play by Rob Florence.

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Yes.

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And can you tell me a little bit about how you came upon this script, this this challenge.

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Partly because I I decided since I was in the middle of this disaster and I was on the ground, there was a huge national push of artists from around the country who wanted to get funding to do Katrina Response Theater.

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Mhmm.

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And some of those plays were quite wonderful, and they had a practice of trying to strengthen artistic organizations and artists that were in place. And some were kinda just, I’m gonna helicopter in, tell me your stories, and then they left and like brought their plays to wherever they lived. Right. I didn’t like that practice so much. I like the impulse of using resources that they could connect to as New York based artist, to bring to New Orleans and partner with artist organizations and artists in New Orleans to help create pieces as a collaboration.

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And I was involved in some pieces like that. The woman who wrote Vagina Monologues, now Vee, E. Wendler, She I wrote a I was with 15 other women that wrote a piece called Swimming Upstream, and we got to perform in New York City and all around the country doing that piece. And we were we worked with really high profile artists on that. So that was an example to me of assisting organizations in an a a disaster zone because you we’re scrambling for basic survival needs.

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We’re not writing grants. I mean, it is, so and then there really was some amazing art that was being made in response by New Orleans based artists. So I wanted to write about that. And in that, because I was on the ground, JPAS and UNO produced early versions of Katrina that Rob Florence wrote. I saw it and I loved it, because what I think Rob captures, what I noticed about New Orleans based Katrina response art is it was mostly about the spirit and resilience and the community that was formed of how do we recover and how do we get through this.

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Whereas what I noticed about out of region Katrina plays was that Katrina was a backdrop of drama. Really a play about something else, another family problem, but Katrina’s the background. Or they really wanted to dig deep on the misery and trauma, but they can’t speak to the spirit and the love of New Orleans and the love New Orleanians showed each other. They helped each other through. Sure.

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And that’s what I love about this play. I do think that there’s a lot of people, like, because now there’s been a lot of documentaries about, oh, remember Katrina? And some I have friends that are like, I don’t wanna think about it. I don’t wanna remember it. I already lived through it.

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There are people who are really have no clue, like, that that because maybe they came later or they don’t go to New Orleans very often, don’t know a lot about it. So I think it’s a good time to open it up. And I feel like this play in particular, because it has that New Orleanian perspective that is so rich with humor and sarcasm and care and love that that is really what could never be destroyed

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Mhmm.

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Even though 80% of the city was devastated.

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Absolutely. Travis, tell me about being a part of something like this. When, so, you know, you you revealed your age, so I’m gonna play on that a little bit, right? You so you’re a teenager ish I was 14. Yeah.

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I was also not living in New Orleans.

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Where were you?

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I was I was living in South Georgia at the time.

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Okay. So the stories that you heard on this, what being in the show now and hearing, obviously, you’re surrounded by people who were directly impacted in this. You’re present all of your present company right now. Right? So, I was living on the North Shore, lots of trees down in my yard.

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Can remember very vividly my brother my favorite Katrina story is that we didn’t text and answer the phone either. Right? But my brother finally got in touch with us, he started screaming at me. He was living in Phoenix at the time, and we were in our twenties, late twenties, I guess, when it when it hit. And my brother started he’s screaming bloody murder at me I’m like what is your problem he’s like I have been trying to get in touch with you why are y’all not calling me I’m like I can’t I just I remember like trying to talk and he kept talking over me I just handed the phone to my mom and my mom was like shut up for a minute.

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You’re not the one somewhere. Exactly. So when you get surrounded by people who are telling you these stories and you heard it from the other side of it, what does that impact for you now being really, you’re in the reality of it now, right? Twenty years celebration of our recovery from Katrina or, you know, twenty years of memories as well from this as well. Tell, what’s that like for you?

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Sure, and I will say something that I said during our first table read is, you know, being 19 living in another state and seeing all this on the news, they had a very particular image they painted New Orleans in. And I’ve been living on the New Orleans North Shore now, see I came here August ’22, or sorry, August ’23. So it’s been a little while and I have fallen in love with this area and what I saw being projected We do on that. The I mean, and you know, you can see I’m a big guy. The food has been very kind to me.

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To

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all of us. To all

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of Again, I had I had an image in my head of what what New Orleans was. And I’ve since learned that, again, talk about the spirit.

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What the media portraying that was feeding your images?

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Again, it showed and depicted, you know, looting and just that it was not a very, not a safe place to be. And from somebody who has never experienced that,

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paying attention to the wrong side of the Exactly. Of what’s happening. Exactly. Yeah.

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And now having been here and it being as deep into the script as I’ve been allowed to, and you get, it’s that rebuilding, it’s hope. And if you don’t mind me sharing a personal plug, I am a recovering alcoholic and addict and it, the silver lining and the joy of recovering from a seemingly hopeless situation is something that I will cling to every time. So seeing that, a part of this, and even when late summer came and you had offered, you had showed me the script and asked me if I wanted to audition, I even said, I would rather this go to somebody who had experienced it. And she said, well, all the students would have been babies. Said, yeah, good point.

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Well, at least their parents would have experienced this, you know. That that was something that I, as much as I’m enjoying being a part of the process, it’s, it was more important to me that, another actor got to tell the story because I wasn’t here for it.

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Right. I think that’s, part of that survivor’s guilt maybe, you know, where you, you see everybody else doing it and you, and you’re like, no, I’m not worthy to do that. But also, I think that some of us forget that we just want people to hear us, And if you’re, if you’re part of those ears and you’re part of that listening audience, you’re doing your part. You’re doing just as big a part as everybody else is if you’re able to listen to those stories and appreciate them and tell the stories from that real side of it. So yeah, count yourself among us, my friend.

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And the genius that Doctor. Fox is, is she has allowed me to have my own voice within this show.

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We have sound, specific sound design and he’s, doing that.

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Yeah. Yeah. So very good. So you’re able to hear, like, the voices for yourself. Right.

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I love it.

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Well, she was just saying we were doing sound bowls. You know, like, have you ever

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seen them on the composition. Composition. Uh-huh. He’s He’s doing live sound.

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Typically they have a very, very harmonic, very serene sound, but we’ve been finding some ways to get some eerie sounds in there as well and mixing it up and creating a soundscape for the show. And it’s it’s been a lot of fun. So when I say I’ve been she allowed me to have my own voice as well. It’s through the bowls and it’s it’s really fun.

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I love that. I love that. Alright. So let’s talk about when it is, what we’re Definitely. Talk about the show as we’re kind of closing out here.

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Let’s talk a little bit about some Lyceum lights that you’re gonna be doing here on campus and some of the other things that you’re gonna be doing to celebrate Katrina. Close us out Alright. With all the things that are coming.

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So October is Katrina’s Path by Rob Florence. It’s in the new Dee Vickers studio ten forty eight, and it it

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It’s a beautiful place.

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It really is. And, we’re very excited to be the first performance in this space. October 14, next Tuesday, I’m giving Elysium Lights, and I’ve been part of an improvisational practice called Playback Theater for about, oh, a few decades now.

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There you go. Own it.

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I did it in Rock It. I did did it in California. It’s performed all over the world. It’s a form of storytelling where people tell their stories and then the company plays it back for them. After the Katrina Levy Breaks disaster, I started NOLA Playback Theater, and, we’ve just revived, after the twenty year anniversary, and that’s been really rich because there’s so much activism and spirit, still going on in our region, and we’re yeah.

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Sonola Playback Theater is back. We we had about seven years of doing community work all over New Orleans, and now then we had a break, and we’re coming back and we have new people, new faces. So I’m very excited about that. So the the principles of improv have been a big piece of my practice. And I also do mask improv, and I I use improv to make new devised theater.

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So I’m very excited to share the basic foundational skills of improv and how they are life skills, but really just to elucidate and underline how a lot of us, we’re improvising all the time, especially as educators.

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Aren’t we?

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Especially when you have things like, Ida, take out your facilities, or when we had COVID, and that was my first year here, was COVID, and then we had a hacking situation. We’ve had to improvise quite a lot, and those skills travel. And, so I’ll I’ll be underlining and having teaching some some of the basic, we’ll play some improv games for that.

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Right. Now that is not open to the public. That’s a faculty event where you’ll be sharing that information to the rest of your faculty. Sorry, Travis. But, I’m looking forward to attending So that I’ve already signed up.

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As soon as I saw you were there, was like, I’m there. I want to hear about that. So, But it is definitely one of our perks during homecoming week. So we’re excited about that.

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I was fortunate to do a playback event with her this this past summer. So Yeah. I had my fun.

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You’ve got

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your fun.

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Go ahead.

00:23:59.095 –> 00:24:04.775
Very good, I love it, I love it, I’m looking forward to it. Thank you. Yeah. Thank you for all those things. Oh yeah,

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and then October 21, I’m doing a fanfare lecture on my, it’s really my dissertation research about post Katrina performance in New Orleans, where that was not traditionally located because there were no theaters right after Katrina. But yet the theater artist had brought so much energy to talk about personal story, place, and memory, and, that’s what I’ll be talking about for a fanfare lecture.

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October 21. What time and where?

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It’ll be 02:00 in the student union ball oh, no. Theater. Student Union Theater

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Very good.

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At 02:00, and that is open to the public. Excellent.

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And that

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that is also to kind of open up Katrina’s path. And Phi Kappa Phi is cosponsoring our opening night event Good. Where we will have playwright Rob Florence come, afterwards give a post show talk about responding to disaster through art

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Love it.

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And as an act of renovation and restoration. And then we’ll have a brief vigil outside the Katrina Memorial Fountain, Katrina Rita Fountain on campus, because it’s right outside our performing space.

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Perfect.

00:25:18.480 –> 00:25:26.615
We’ll have cake and I like cake. Yeah. And and refreshments, and we’ll close it out in a celebratory fashion.

00:25:26.695 –> 00:25:27.415
Excellent.

00:25:27.415 –> 00:25:30.215
So that’s coming up October 22 with the opening.

00:25:30.215 –> 00:25:47.965
Thank you for everything that you did to keep theater alive while we were moved from our beloved D. Vickers Hall, but also for all of those wonderful experiences that you’ve obviously given to students that they didn’t even know that they weren’t in their natural space. So we appreciate you.

00:25:47.965 –> 00:25:57.965
Well, thank you, Will, and with a great team like I have, the magic makers, Steve Schepker, James Winter, Mona Jahani, Chad Winners, can’t go wrong

00:25:57.965 –> 00:26:03.850
with No, the you can’t. You can’t. Wonderful, awesome people, all near and dear to my heart. So thank you so much. I

00:26:03.850 –> 00:26:04.330
appreciate you.

00:26:04.330 –> 00:26:07.050
Thank Thank you for inviting us to speak.

00:26:07.050 –> 00:26:21.865
Indeed. Travis. Yes. Thank you so much for choosing Southeastern. We’re so proud of you that you’re a Lion here at Southeastern and that you are representing all sorts of non traditional students as well as people who can overcome big challenges.

00:26:21.865 –> 00:26:22.665
So we appreciate you.

00:26:22.665 –> 00:26:24.425
And thank you for having me. It’s been my pleasure.

00:26:24.425 –> 00:26:27.305
Absolutely. So October one more time for the show?

00:26:27.305 –> 00:26:29.785
October 22 to the twenty fifth.

00:26:30.280 –> 00:26:30.840
Very good.

00:26:30.840 –> 00:26:37.080
07:30, and tickets, you can buy them at the door. For students, it’s free.

00:26:37.240 –> 00:26:48.435
There you go. There you go. Listen up. Students, we’ll have you for free at this first show back at D. Vickers Hall, and it’s gonna be in the Black Box Studio. Brand new Black Box Studio.

00:26:48.435 –> 00:26:59.490
The thing is awesome. The sound in there is just fantastic. So go and experience this awesome opportunity. Thank you for joining us. Thank you for listening here on KSLU’s ninety point nine FM.

00:26:59.490 –> 00:27:16.295
We’ve been at the Roundtable with Amber Narro. This is my third show back at KSLU, so I’m very excited to be back here back home where Ms. Rosa started this, Ms. Rosa Dunn, all in 1988. So very excited to be back where it all started again.

00:27:16.295 –> 00:27:25.304
Thank you for joining us. Thank you for listening. We’ll see you again on Thursdays and Fridays at 09:00 right here on KSLU. Hi.