A Conversation With Director/Open-Door Founder Bernadette Armstrong, “Wabi Sabi” (Podcast), Open-Door Playhouse, by James Scarborough

Bernadette Armstrong’s direction of “Wabi Sabi” highlights the delicate balance between past and present relationships. The play, set in a high school library, serves as a microcosm of the bittersweet nature of reconnecting with friends from the past. Armstrong guides Franco Machado and Whitton Frank through a narrative that questions self-acceptance and the acceptance of others. Her direction realizes the emotional nuances of Rachael Carnes’ script, creating a resonant experience for each of us. The choice to present the podcast during Pride Month affirms the Open-Door Playhouse’s commitment to diverse storytelling, particularly focusing on LGBTQ narratives.

Armstrong’s leadership has been marked by a return to the format of radio dramas, providing a unique platform for contemporary playwrights. The Playhouse’s accolades, including a Communicator Award and a Webby nomination, underscore its impact in the realm of podcast theatre. “Wabi Sabi” offers yet another example of Armstrong’s vision and dedication to showcasing thought-provoking and emotionally rich stories.

On “Wabi Sabi”

JS: What inspired you to direct "Wabi Sabi?” How do you approach its themes of acceptance and self-discovery?

BA: Well, first I thought it was beautifully written – that is my priority for all the plays on the podcast. And, second, I loved the topic. This was first produced on the Podcast in 2020, and as the years have passed, transgender children and their parents seem to be more and more under fire by the far right. This play presents them without prejudice.

JS: How did you collaborate with playwright Rachael Carnes to bring her vision of the play to life in a podcast format?

BA: I really didn’t make any changes to the script, so the collaboration was more of a humble feeling from me that she trusted me enough to produce and direct her play.

JS: Discuss the challenges and rewards of directing a play that focuses on reconnecting with the past and its impact on the present.

BA: I think the only real challenge was to make sure that the listeners understood that Whitton’s character’s (Laurel) sadness and anger was clearly more about the sudden disappearance of her best friend due to lack of trust.

JS: What makes “Wabi Sabi” relevant to audiences today, especially during Pride Month?

BA: For me, Pride Month is a celebration of self-awareness and embracing one’s self, and not hiding in closets. This month of celebration shines a light on the current distortion and ignorance of the far right and their twisted lies about the actual humans who walk this earth without shame.

JS: How do you ensure that the performances resonate with listeners despite the lack of visual elements?

BA: Sound Effects!  It’s all about the sound, it allows listeners to ‘see’ what the character’s action.  It brings these plays alive.

JS: How do Franco Machado and Whitton Frank bring depth to their characters in "Wabi Sabi?” What was your directorial approach to guiding their performances?

BA: I always cast the actors I trust to do the work. Then on our first meeting we will talk about the characters, have a quick read of the play out loud, and find the arc of the play: the emotional journey these two are on as they reflect on the past and future.

JS: How does the setting of a high school library contribute to the themes of self-acceptance and reconnecting with the past?

BA: The library is quiet and private.  Everyone has their heads down in their books, and it’s all about the opportunity to learn.

On the Origins of the Open-Door Playhouse

JS: What inspired you to open the Open-Door Playhouse? How has your vision for it evolved since its inception in 2020?

BA:  My play Custody got locked out in No. Hollywood due to the COVID-19 shutdown and I was upset, because who knew when live theater would come back, right. Then I thought my play based on Joan Crawford and all the radio plays she did in the 40’s and 50’s and Open-Door Playhouse was born. I knew I wasn’t the only playwright who was missing out so I created the site, called out to all the actor friends I had in LA, which led to them sharing the information with other actors, and low and behold, I had plays coming to me and actors being referred to me or just contacting me on their own.  It took a while to really catch on, and to raise funds for production. ODP is going on it’s 4^th year and we have avid listeners.  My goal has always been to offer everyone an opportunity to be heard – to share their art with the world we share with others. The one big UPSIDE - Open-Door Playhouse provided work for actors, directors and my sound engineers through Covid19 and the Actor’s Strike.    

JS: How do you approach directing plays that are presented in podcast form, compared to traditional theatre productions?

BA: I listen for the clarity in the play.  My one note to all the writers is “it”, “them” and “over there” can’t be seen - so their characters need to ‘say’ what they are seeing, feeling as the sound effects create their movements.

JS: What challenges and opportunities have you encountered in producing short and one-act plays for a podcast format?

BA: Truly, the only challenge I have with ODP is funding. ODP is a 501c3 nonprofit theater organization, mostly funded by me. All members of each play get a small stipend for their time, I have an assistant that helps create the posters for each play and she manages the website. Open-Door Playhouse is work of love.  I’ve been blessed to work with wonderful creative talent who put their hearts into the plays. 

“Wabi Sabi” is available online on June 25th and runs indefinitely. The Open-Door Playhouse is a virtual venue. To listen and donate, click here.