A Conversation With Playwright Lisa Kenner Grissom, "here comes the night," The Zephyr Theatre, The SheLA Festival, by James Scarborough

Lisa Kenner Grissom’s “here comes the night” explores friendship, choice, and social pressures against the backdrop of modern digital life. The story revolves around two women—Olivia, a climate science advocate, and Maggie, a social media influencer—who reconnect during a weekend that challenges their perspectives on reproductive rights and personal agency. Kenner Grissom navigates the complexities of female friendship and the stark contrasts between the characters’ lifestyles and ideologies.

The play delivers character development and dialogue that captures the tension and affection between the two women. The juxtaposition of Olivia’s introspective, grounded nature with Maggie’s outwardly vibrant yet internally tumultuous persona underscores the play’s central themes. Kenner Grissom’s writing allows us to experience the emotional landscapes of both women as they grapple with the repercussions of their choices.

“here comes the night” offers a fresh perspective on pressing contemporary issues. Kenner Grissom blends humor with serious subject matter, prompting us to reflect on the complexities of personal and social choices.

JS: Your play addresses the theme of reproductive rights. What inspired you to explore this topic through the lens of female friendship?

LKG: Telling this story through the lens of female friendship felt like such an organic way to explore this topic. Female friendship is a special kind of relationship with so many layers. I think it's fascinating how we might seek advice from one friend for a particular issue, and a totally different friend for another. And cross-generational friendships, like the one Olivia and Maggie have, are so rich because different perspectives are built-in. For me, it seemed like a natural question: when Olivia finds herself in a complicated situation, who does she call…and why? Who she decides to call is going to bring her own baggage, which makes for a great set-up.

JS: The characters of Olivia and Maggie are distinct yet deeply connected. How did you develop their backstories and personalities?

LKG: My characters tend to spring from so many sources it’s hard to pinpoint. I’d say they are a mixture of people I bump into in the world, personal experience, and my imagination. Olivia isn’t based on anyone specifically, but aspects of her are inspired by people I've known who came to Los Angeles and fell into a certain lifestyle, rather than consciously choosing it. When I put Olivia into the specific setting of this play—in a canyon, on the top of a mountain—she really came alive for me. Everything about her life and situation seemed more dire. That’s a good place to develop a character.

With Maggie, I drew upon social media of course, but also real life. I follow a few Instagram influencers (I mean, who doesn’t?) and I’ve watched several friends dip their toes into the influencer game with mixed results. Maggie may have started as a combination of people I either follow or know, but then she took on a life of her own. She’s emblematic of the type of person who embraces reinvention in a very Southern California way—I say this without judgment! I admire Maggie. She’s out there trying to figure out who she is, in all the ways.

JS: Your play blends dark comedy with drama. How do you balance these tones to ensure both elements don’t undermine the gravity of the subject matter?

LKG:  Striking the right balance is so important. The humor springs from the mash-up of Maggie and Olivia’s unique perspectives. These two characters bounce off each other, and it’s really fun to watch. My hope is that the humor invites audiences into their shared world, and creates a more nuanced understanding of the female perspective on body autonomy. Comedy is just such a great way to get us talking about difficult things.

JS: The setting of the play, a house in a wildfire-affected canyon, adds a layer of symbolism. Elaborate on the significance of this choice and its impact on the story.

LKG:  The decision to set “here comes the night” in this environment adds another layer of danger to the piece. I am definitely investigating themes of death and renewal, and the setting adds to this exploration. A few years ago, I met a young woman whose house had been destroyed by one of the wildfires. Her family had to find temporary housing and eventually rebuild. Hearing her story first-hand made the abstract very real to me. That conversation led me down a research rabbit hole, and I learned that floating embers can spread a fire miles away from its source. This lack of control over the natural world has an impact on Olivia. It wakes her up to change her life.

JS: Olivia’s character undergoes significant emotional turmoil throughout the play. How did you approach writing her story, especially regarding her decision to have an at-home medical abortion?

LKG: Olivia’s journey is her decision. Although at the top of the play, we learn she wants to have a medication abortion, Maggie disrupts Olivia’s best laid plans by challenging her. Olivia must go through the turmoil one last time before fully committing to her decision, and Maggie unwittingly helps her get to that place. The fact is, Olivia couldn't make the decision without Maggie pushing back.

JS: Maggie, a social media influencer, represents a modern archetype. What challenges did you face in portraying her character without resorting to stereotypes?

LKG: It can be a fine line and I’m aware of this when it comes to Maggie. The thing that I always come back to is that Maggie truly believes everything she says. She’s confident in herself, and she’s also very good at her work. She’s not doing this to be trendy. Yes, she wants to get to 10K followers and make money, but she’s also passionate about helping people. She may be in a bit of a bubble, but it’s her bubble. She owns it.

JS: “here comes the night” has been recognized by several prestigious festivals. How has the play’s reception influenced your perspective on the themes it addresses?

LKG:  I’m thrilled that “here comes the night” has been recognized by several national playwriting conferences including The O'Neill and the New Dramatists Princess Grace Fellowship. I'm equally thrilled to be part of SheLA’s 2024 Summer Theater Festival alongside four other incredible artists. The positive reception tells me that “here comes the night” is resonating with people, and I hope this is the beginning of an expanded journey for this play. I hope the play offers a different take on the topic and one that audiences continue to embrace. I started “here comes the night” in 2019, before Roe was overturned. This recognition reminds me how relevant this conversation is now, especially in this challenging political moment.

JS: Collaboration with director Hailey McAfee is crucial in bringing your vision to life. Can you share insights into your collaboration with her? How did it shape the production?

LKG: Hailey and I have had a mutual admiration for each other for a while, and I’m just so thrilled that we get to collaborate on “here comes the night.” She really understands the nuances embedded within the play, and I’m excited to see her fresh approach come to life on stage. Hailey is incredible with actors (she’s also a terrific actor) and has a great sense of pacing, which is so important in this play. Both of us also love the soundscape aspect in this piece, and we’re thrilled to be working with sound designer Andrea Allmond on this production.

JS: The play’s dialogue is sharp and realistic. How do you approach writing such dialogue to ensure it remains genuine and engaging for contemporary audiences?

LKG: When I started this play in 2019, medication abortion was a revelation to most people. Now, it’s a hot topic in every news cycle. So, I definitely have to update dialogue from time to time, particularly when it comes to abortion laws and current events. Similarly, influencer culture is constantly evolving. I keep an eye on current trends and update language and buzzwords, which is super fun to do.

JS: What do you hope audiences take away from “here comes the night?” How do you see the play contributing to ongoing conversations about reproductive rights and female agency?

LKG: I hope audiences have an experience that expands how they consider reproductive rights, beyond pro-choice or pro-life. These decisions are not black and white. I think we need to acknowledge and embrace the gray. I hope audiences appreciate the nuances of this story, and find ways to take a fresh perspective on this topic out into the world. And I hope they fall in love with Olivia and Maggie as much as I have.

Performances are Tuesday, July 16^th at 7:30 pm and Saturday, July 20^th at 2:30 pm.. Tickets are $30. The Zephyr Theatre is located at 7456 Melrose Avenue, Los Angeles, CA 90046. For more information, click here.

Photo courtesy of Linda Abbott