A Conversation with Playwright Miranda Rose Hall, “The Sandwich Ministry” at the Skylight Theatre," by James Scarborough

Miranda Rose Hall’s “The Sandwich Ministry” combines themes of community, resilience, and the fragility of human connections against the backdrop of a small town ravaged by a once-in-a-century storm. Directed by Katie Lindsay, the play shows how communal efforts in times of crisis can both unite and strain relationships. As the three central characters gather to prepare food for their displaced neighbors, Hall dissects the dynamics of friendship. She shows how external pressures can augment underlying tensions and personal conflicts.

Hall’s narrative is rich with symbolism. The act of making sandwiches - a mundane task - becomes a metaphor for sustenance, care, and the complexities of human interaction. The storm, both literal and metaphorical, serves as a catalyst for the characters’ self-discovery and confrontation with their vulnerabilities. The dialogue reflects Hall’s experience in television writing. It brings a cinematic quality to the stage that enhances the immediacy of the characters’ - and our own - experiences.

Supported by Yale’s Binger Center for New Theatre, “The Sandwich Ministry” stands as a testament to Hall’s ability to blend socially relevant themes with personal storytelling. First, the play highlights the power of community in overcoming adversity. Second, it challenges us to consider the tenuous balance between individual needs and collective responsibility.

JS: How does “The Sandwich Ministry” reflect your ongoing themes of community and resilience in the face of adversity?

MRH: It's about three women who are drawn together in the face of a local catastrophe. I think it's really important to write about love in all of its forms -- romance, family, friendship. This is a play about friendship, and what it takes to maintain friendship. I really wanted to write about what we risk losing when those bonds are under threat. I find that I am really leaning on my communities as the world gets more unpredictable, and I wanted to think through what it takes to have a true community. 

JS: In what ways did the historical and contemporary significance of storms and natural disasters influence the play’s narrative?

MRH: I think a lot about climate chaos, and this play comes out of what I see happening in our world. The storm isn't just a metaphor, it's a real threat, and a real catalyst, and a real event that is shaping how these characters view each other, themselves, and the future. 

JS: Discuss the dynamic between the three women in the play. How did their relationships evolve throughout the story?

MRH: Well, I don't want to give anything away, but the drama of the play is really about how a person can be truthful with the people they love, and if being that honest will cost the relationship, or if the relationship is resilient enough to recover.

JS: How does your background in writing for television, such as on “Alaska Daily” and “American Rust,” inform your approach to crafting dialogue and character development in your plays?

MRH: This, in a way, is an anti-television play. There is no change in scenery, no leaps in time. It's happening right before us, all in one room, in real time. It was my refuge for a different pacing of thinking and writing while I was writing for faster-paced TV procedurals. In the theater, you can spend time with characters in a very different way. 

JS: What role does the setting - a small town dealing with the aftermath of a storm - play in shaping the characters’ interactions and the overall message of the play?

MRH: It makes the community more intimate, and it makes the stakes of their relationship much higher. If they aren't there for each other, who will be? 

JS: Elaborate on how the support from Yale’s Binger Center for New Theatre has impacted the development and production of this play.

MRH: This is a commission from Yale Rep, and they supported the initial writing process and an early workshop. I am so glad that they reached out to Armando Huipe, Executive Director at Skylight to talk about it, because the Skylight Theatre Company has proved to be a wonderful artistic home for the play. 

JS: How does your academic background from Georgetown University and the Yale School of Drama influence your writing style and thematic choices?

MRH: It takes a long time to sound like yourself when you write, and a very long time to say what you mean. I'm very grateful to my education for giving me the time and space to practice those things in the company of such inspired and collaborative classmates. I am very grateful to have had wonderful teachers who continue to read drafts and help me along. 

JS: What inspired you to focus on the act of making sandwiches as a central motif in the play? What does it symbolize for the characters?

MRH: I think the sandwiches are very literal. I wanted to make real things that could live beyond the stage. So much of what we make for the theater goes immediately to waste. I wanted to write something into the play that wasn't just a prop -- that could mean something real to someone. To me, it's a bridge between theater as entertainment and theaters themselves as civic institutions within a larger community.

JS: As a playwright who has received significant commissions and awards, how do you navigate the expectations of these institutions while maintaining your unique voice and artistic vision?

MRH: Every play you start from scratch. And it always takes a while to figure it out! I'm grateful to have had colleagues at various institutions who are willing to get in the trenches with me as I try to make sense of what I'm making. 

The play opens at 8:30pm on Saturday, June 1 and runs at 8:30pm Fridays & Saturdays; 3:00pm Sundays; and 7:30pm Mondays through July 7, 2024. The Skylight Theatre is located at 1816 1/2 N. Vermont Ave, LA, 90027. Tickets are $20 - $42 (Students: $20; Seniors: $35). Click here for more information.