A Conversation with Playwright/Actress Dylan Jones, “Siren Song”, Stephanie Feury Studio Mainstage, The Hollywood Fringe Festival, by James Scarborough

Dylan Jones’ solo show, premiering at the Hollywood Fringe Festival, takes a deep look at identity and womanhood. Directed by Amanda McCraven and co-created with Allan Wasserman, the production unpacks the complexities of self-perception and societal expectations through the lens of iconic female figures and mythical sirens. Jones’ invocation of acting legends such as Bette Davis, Barbara Stanwyck, and Greta Garbo serves as a critique of the idealized images of women that have dominated cultural narratives. The juxtaposition of these icons with the personal narrative of a disappearing mother creates a dramatic tension between aspiration and reality.

The inclusion of a ukulele and mythological sirens adds a layer of whimsy and surrealism. They enhance the introspective nature of the performance. The sound design by Jeff Gardner and projections by Gabrieal Griego enrich the sensory experience, providing us with an immersive journey into the psyche of modern womanhood.

Jones, known for her roles in productions such as “Sarah Kane’s 4.48 Psychosis” and Anton Chekhov’s works with the Theatre Movement Bazaar’s Track 3, brings a gritty authenticity to the production. Her performance resonates with anyone who has grappled with their own identity amidst the din of societal expectations. This production shows Jones’ ability to blend personal narrative with broader cultural critique.

JS: “Siren Song” tackles the theme of identity crises in women. How did you integrate iconic figures like Bette Davis and Barbara Stanwyck into this narrative?

DJ:  Great question.  I modeled my life after them.  My life falls apart.  So, what have they got for me now?  I use my love of their films to help me tell my story and then I “invite them” to come and tell me what advice they have to give me.  Everything happens on stage as I transform from myself into them. 

JS: The show’s title suggests a duality between allure and danger. How does this duality manifest in your portrayal of womanhood in the show?

DJ: Oh yes.  I’m really looking at women being pitted against each other in the good girl/bad girl dynamics we see.  My mother did everything right and now has Alzheimer’s and I wanted to be like the women I saw on the silver screen and it led me some places.  But everything about what I was taught is what has made my journey in Hollywood tolerable, so the irony of life.  The difference of being on a screen where the view is manage and the work of being human.   How to hold both with grace and space for myself and being able to change.

JS: Your performance includes the use of a ukulele. Elaborate on the significance of this instrument in the context of your narrative.

DJ:  For me, the ukulele allows for a greater intimacy than other instruments.  And I get to connect with a different part of my singing voice when I’m playing the uke.  It also dovetails perfectly with the recurring ocean theme and the Sirens call.  It’s really the Sirens who are singing in the show.  It is set up for them to “come through” and share with us :)

JS: How has your personal experience influenced the portrayal of the relationship between the protagonist and her disappearing mother?

DJ:  My mother has Alzheimer’s and we needed to move her into a facility last year.  This show is my way of coping with her transformation and to remain connected with her in her absence that could bridge her inevitable exit.

JS: Amanda McCraven’s direction and Jeff Gardner’s sound design play crucial roles in this production. How did their contributions shape the final presentation of the show?

DJ:  I had many recurring sounds and loops that came to me that Jeff was able to manifest for the show to make this world accessible.  It was important to me that this spiritual, mythological place of interconnectivity between worlds could feel as real as our every day world and be an invitation to it.  Jeff is a master of evoking inner life as reality.    Amanda showed up just at the right time to get me over the hump and carve the show out into the shape it needed to be.  Really focusing in on the central themes and letting go of anything that didn’t need to be there.

JS: The use of projections by Gabrieal Griego adds a visual dimension to the performance. What role do these projections play in conveying the show’s themes?

DJ:  Well, I am very aware that there will be guests in the audience who do not know Bette, Barbara and Greta.  So, the projections will help in the storytelling that way along with family photos as comedic reference points.  The storm and ocean themes allow us to sit and feel the world of the sirens and be swept away in them with the story if only for a moment…

JS: Your previous roles in productions such as “Sarah Kane’s 4.48 Psychosis” and Chekhov’s works have been diverse. How did these experiences prepare you for a solo performance like in this show?

DJ:  Ah, yes.  Well, with Chekhov, we traveled and put that show up at Edinburgh Fringe with the 15 minutes load in and out.  It also has song and dance and then we toured it all around the world.  4.48 Psychosis was very similar to a solo show because it was her isolated journey in her mind that led to her inevitable suicide on stage in which literally everything gets stripped away.  I definitely felt like I could do anything after that show.  But I have also done two previous solo shows to this one.

JS: Identity crises are a central theme here. What message do you want the audience to take away regarding self-perception and societal expectations?

DJ:  Only you can be you and it’s enough.

JS: “Siren Song” is a collaborative creation with Allan Wasserman. How did this collaboration influence the development and execution of the show?

DJ:  Originally, Allan Wasserman shared the Variety ad Bette Davis put up in 1962 with me two years ago.  I knew I wanted to play Bette Davis at that time around that ad and then it became all this.  He has been with me since the beginning and directed the original workshop.  His support has been invaluable, gentle nudges and keeping me on time.  Encouraging me to know that it’s enough.

JS: The Hollywood Fringe Festival is known for its eclectic and innovative productions. How do you feel “Siren Song” contributes to the festival’s legacy of pushing creative boundaries?

DJ:  I do think it is a unique approach to a solo show.  I’ve seen many and don’t feel comfortable in a traditional narrative format.  I hope whether people like it or not, they will feel inspired to create something of their own and check out these iconic women’s legacies of extraordinary films.  In that way, I feel it is a kind of multi-media work that pushes along many intersectional lines.

Performances are Sunday, June 9, 12:30 pm; Friday, June 14, 8:00 pm; Monday, June 24, 8:30 pm; and Friday, June 28, 10:30 pm. Tickets are $20. The Stephanie Feury Studio Mainstage is located at 5636 Melrose Avenue, Los Angeles 90038. For more information, click here.