A Conversation with Playwright/Director Stefan Marks, “Ophelia” at The Odyssey Theatre, by James Scarborough

Stefan Marks’ “Ophelia” blends existential themes with whimsy and poignancy. It is a narrative about time, memory, and the human condition, where Marks explores the complex interplay between past and present, reality and illusion. The play’s protagonist, a middle-aged son coping with his mother’s advancing dementia, becomes a vessel for our journey through fragmented memories and elusive truths.

Marks’ writing stands out with its emotional depth and intellectual rigor. The play’s structure, with its non-linear progression and incorporation of doppelgängers and time shifts, mirrors the disorientation experienced by those affected by dementia. This choice not only heightens the dramatic tension but also serves as a powerful metaphor for the fractured nature of memory. The character of “Mom,” portrayed by Deborah Geffner, anchors the play’s emotional core, providing both comic relief and tragic resonance.

“Ophelia” stands out for both its artistic merit and its commentary on the human experience. It offers us a thought-provoking staging of one of life’s most intimate and universal challenges.

JS: How do you balance the humor and tragedy in a play that addresses themes of dementia and grief?

SM: Thanks very much for all that. Yeah, that’s very important for me to try to do that. There have been several really terrific movies in the last 10 years about dementia related illnesses with wonderful actors like Julianne Moore and Anthony Hopkins. Personally, I really felt emotionally overwhelmed watching those movies. Great work, but so heavy. I wanted to show a less literal representation of the illness and make it more about a final chance for these three characters to connect with one another. And the B story is romantic: will they or won’t they find true love? I think that helps lighten the heavier moments.

JS: How did you develop the characters, particularly the dynamic between “Mom” and “Son”?

SM: I feel very fortunate that both my parents are alive and well and I get to spend time with them and that this isn’t an autobiographical piece. It’s much more about appreciating the ups and downs of all relationships and honoring the complications of love. Accepting things as they are. I wanted Mom to have a chance to express herself and tell her story, even though in reality, she doesn’t communicate anymore. Deborah and I are good friends and she’s such a fun partner to play off. We spent a lot of time during the pandemic doing Zoom readings of the play which really helped me fine-tune the script. 

JS: The play features elements like time jumps and doppelgängers. What inspired these structural choices? How do they serve the narrative?

SM: I think they reinforce Mom’s mental state, but also the play deals with regret, the pursuit of a happy life and finding a soul mate. I think love is pretty mysterious, disconcerting and magical anyway, so it seemed natural to have some elements in there that amplify that.

JS: As both writer and director, how do you maintain objectivity to ensure your vision translates effectively onto the stage?

SM: I went to school for writing and directing. I don’t always act in my stuff. But to me, it seems perfectly natural that I would write something and then direct. I’ve always done it that way. What seems to work for me is to compartmentalize. When I write it, I am thinking about what the play sounds like and trying to make sure that it makes sense to me, that I can justify every line. When I get around to directing, I shift more towards “what does it look like?” That seems to help. And if I happen to be acting in the play as well, I learn my lines early so I can focus on directing in the rehearsal process and just interacting with my partner(s) as believably as possible.

JS: What reactions from the audience have you found most surprising or gratifying during the run of “Ophelia”?

SM: The best thing is when someone says they’ve been thinking about it for days after. That means a lot. Or if they come back to see it again. My goal is to write stuff that resonates. Some of the parts of the play are confusing, but I think that helps illustrate what Mom is going through. Unfortunately, so many friends and strangers I’ve met have shared their own personal experiences dealing with family members who have dementia related illnesses. What’s been nice is that I’ve spoken to a lot of people after the show who said the play made them feel better.

JS: How did you go cast Deborah Geffner and Tatum Langton? What unique qualities do they bring to their roles?

SM: I feel so lucky to get to work with them. Deborah cast me in a short film she wrote called “Guitar Lessons” about 14 years ago. We had great fun and always wanted to work on something else together. She’s such a gifted actress as well as a wonderful person. Tatum came on board after an extensive audition process. Was very difficult to find an actress who could play the two distinctly different roles she plays. Some actresses were very adept at one role, but Tatum really nailed both. She’s super smart and emotionally facile. I think what I enjoy most about both of them is that they aren’t afraid to try anything, but they also have very clear opinions about their characters. I really love the collaboration and learning from them.

JS: The play is described as having “mystical magical meaning.” Can you discuss any specific symbols or metaphors you employed to enrich the narrative?

SM: Well there is a magical orb in the play that has some super powers. Whether or not it’s real - I leave that up to the audience. There’s also a lot of deja’ vu and repetition as sequences are revisited. Characters are constantly trying to correct the past or worrying about the future, instead of just living in the moment. 

JS: Were there particular works of literature, art, or personal experiences that influenced the writing of “Ophelia”?

SM: Hamlet? But this is not Shakespeare. It’s a modern play, even though there are some loose correlations. I think the character of Ophelia is so iconic and obviously a tragic figure. So wanted to give her a happier ending this time. I wrote a play called SPACE in 2016 that had a mother/son dynamic, but I felt I didn’t fully explore it the way I wanted to, so that’s why I came back to that relationship in Ophelia. And for the romantic story-line, I wanted to tap into some personal aspirations about love. So that was nice to explore.

JS: How did you collaborate with your production team in areas like set design and lighting to create the world of “Ophelia”?

SM: I have worked with the same lighting designer/co-set designer (Mark Svastics) since we met at CSUN 35 years ago. He’s a dear friend and we have a real strong understanding of what we both like. Always a pleasure to work with him. Paula Higgins, our costumer, also met her there, she’s great. Steven Epstein is the one running the show technically. His side job is at JPL, so we feel very lucky to have him working on the play. He’s a long-time friend and has collaborated on my shows since 2001. In short, always work with friends.

JS: Given the success and critical acclaim of “Ophelia,” what future projects are you currently working on? Do they explore similar themes?

SM: I plan on re-working my last play that I put up in 2018 called “Middle8.” It’s about 5 members of a rock band who start dying one by one. It’s much lighter than it sounds. It’s about friendship, appreciating the life you have and attacking each day. And there’s lots of original music. After that, not sure. I enjoy not knowing what I am going to write next. I love waiting for the next inspiration to come to me. 

TAKEAWAYS

Marks aims to present a less literal and emotionally overwhelming depiction of dementia, focusing on character connections and incorporating a romantic subplot to lighten heavy moments.

The dynamic between "Mom" and "Son" emphasizes the complexities of love and relationships. Despite the real-life communication challenges, Marks gives the character of Mom a voice to express her story.

Time jumps, doppelgängers, and mystical elements reflect Mom's mental state and explore themes of regret, happiness, and the mysterious nature of love, enriching the narrative and engaging the audience.

Performances are Thursday & Friday, 8:00 PM and Saturday, 3 PM & 8 PM. The play runs through May 25th. Tickets are $45 (Golden Premium - Assigned Seating) and $35 (General - Assigned Seating). For more information, click here.