A Conversation with Playwright/Actress Gail Thomas, “Patient 13,” Rogue Machine Theatre, by James Scarborough

In “Patient 13,” playwright and actor Gail Thomas delivers a dark comedy that examines the human psyche’s complexities, especially when faced with mortality. Set against the backdrop of an FDA study on psilocybin as a treatment for anxiety and depression in cancer patients, Thomas explores themes of isolation, vulnerability, and the quest for connection. Her portrayal of a single woman, who must confront her deepest fears and insecurities following a terrifying diagnosis, is poignant and relatable. Thomas’s narrative balances humor and pathos, making us reflect on our own lives and relationships. Her solo performance format amplifies the intimacy of the story, drawing us into the protagonist’s internal struggles and epiphanies. “Patient 13” not only entertains but also challenges societal norms about medical treatment and mental health, encouraging a reevaluation of how we perceive and address these issues.

JS: What inspired you to create “Patient 13?” How did the concept of the psilocybin study come into play?

GT: When I first write a personal story, like, Patient 13, it's just for me to make sense of the world, to gain perspective, to find the humor in the absurdity of life. In live performance, these writings become a magical, intimate, funny, shared experience. Patient 13 is a mashup, a careful re-working of popular stories that I have told on NYC stages.  

For years, my fellow NYC storytellers had encouraged me to create an hour long solo show from these short stories. When I moved to L.A. last year, a couple of my old theater buddies put the pressure on. There was a strike. Dan Oliverio (my friend and director) said "what else do you have to do?" The support and guidance from friends gave me courage and made the journey more creative, fun, successful, and surprising than I ever had imagined. As a newcomer to L.A., it's been a terrific introduction to this theater community. 

Everything in Patient 13 is true. Two years after my cancer treatment ended, the psilocybin study found me. After years of federal blocking, the FDA approved a study to determine the effect of "magic mushrooms" as a treatment for cancer patients at NYU. At a routine annual checkup, my cancer nurse at NYU asked me if I wanted to participate. I'd never done psychedelics before and was hesitant, but ... well, come see the show. Oh, and Mike Birbiglia is an inspiration (we have the same birthday). 

JS: Discuss the process of balancing humor with the more serious themes of mortality and mental health in your play.

GT: I'm a lifelong lover of dark comedy. To me, humor and serious topics go hand in and. Comedy is the icebreaker that makes even the “scariest” of topics accessible. Laughter unites us. 

My process begins with the narrative, the relationships, suspense, the story arc. That's essential. After the structure is roughly in place, the comedy unfolds through a unique point of view/perspective/commentary, and surprise. As they say, comedy is tragedy plus time. These stories were written 3-5 years after they happened. Written from scars, not wounds. 

JS: How did your own experiences influence the character and story of the play

GT: Everything in my show is true. The character is me. The play takes the audience on my crazy experiences, some almost hard to believe, most completely relatable. Performing this story reminds me of lessons learned, empowering me all over again. Playing myself in the play made me realize that I'm cooler than I thought I was. I hope the play empowers others to recognize the value of owning and sharing their own truth. We're all cool, we just don't always see it.

JS: What challenges did you face in writing and performing a solo show? How did you overcome them?

GT: The first challenge was asking myself why I wanted to do it and if it needed to be done. The early rehearsals confirmed that this message is timeless and relevant, for me and an audience. 

Because the solo show grew out of four short stories that I'd told on NYC stages, I thought it would be relatively easy to put them together. Nope, there was a lot of rewriting and a whole new structure. Fortunately, I love the constant discovery of the creative process. Editing is fun because I see the difference that it makes. Eventually, a story tells me what it wants to be. 

Once the show hit the Hollywood Fringe in 2023, I remembered how much I love connecting with the audience in the theater. Sometimes, I'm more comfortable onstage than off. The biggest performance challenge was learning to effectively use the thrust stage, i.e. having the audience on three sides. My director Dan felt this staging serves my own natural style of speaking directly to an audience. He was right. Another challenge was to stop rewriting. 

JS: How do you hope audiences will relate to your character’s journey and the broader themes of the play?

GT: I'm thrilled that diverse audiences, all ages and genders, tell me they relate to the show. Everyone finds something that speaks to them. It's crucial to my writing process that every moment reflects universal human emotions and humor. 

It's not a show about a middle-age lady who had cancer and relationship issues. It's about self-love, standing up for oneself, finding the humor, adapting, loss, and having fun. These are universal human emotions. If I share my vulnerability, it empowers others to recognize and seek their own truth.  

I'm also a storytelling coach, so I teach others how to find, craft and share their stories. I hope this play is an example of how liberating storytelling can be. Patient 13 is my gift to people who grapple with tough decisions, complicated relationships, and self-love. I hope that it helps people see that they are not alone. We're all in this together.

JS: Elaborate on the significance of the title “Patient 13” and its relevance to the story?

GT: Drug studies are anonymous, and we participants have lots of forms to fill out. One night, I was answering the forms, and I saw that the doctors labeled me Patient 13 (out of 29).

After I wrote the full show, we couldn't figure out what to call it because the show is about so many things. But, the FDA study is the show's climax. I'm grateful that I was given the unique opportunity to take the taboo drug in a medically supervised environment. For me, it was life-changing. I'd like others to have the same opportunity. Plus, the title Patient 13 seemed catchy.

JS: How has working with director Dan Oliverio shaped the production?

GT: Lots of firsts. Dan had never directed a one person show before and this is the longest and most personal story I've ever told. Turns out we both love process, precision, words, theater.  Our communication and trust is strong, we're honest and we figure it out as we go. His input expands my vision and confidence. And I'm able to tell him when something doesn’t feel right to me and/or I have a new idea. Just yesterday, he said, laughing, “I don’t have to guess what the playwright wanted or what a character might feel, I just ask you.” I think we've both enlarged our creative skill set through this experience. He's the voice for our audiences and I care about them deeply. He also loves the text so much that he reminds me to stop rewriting and just say what I wrote. 

In the Rogue Machine run, we’re re-blocking a lot to adapt to the Henry Murray Stage, which is kinda quirky. The first run (at Hollywood Fringe) was focused on writing and rewriting. Now, with the writing (kinda) settled, I can be an actor, which gives me more freedom to play and relax into the moment, and simply connect with each audience.

JS: In what ways do you think the play contributes to the conversation around the legalization and medical use of psychedelics?

GT: People are reexamining their assumptions about medical care. Psychoactive substances—even ones that occur in nature—have carried such a powerful stigma in the U.S. that even researching them was illegal. But this has been changing as states consider legislation to legalize psychedelic drugs as medical treatment. 

I suppose the fact that I am a middle-aged lady, that had never wanted to do psychedelics and was afraid of them, makes me a unique advocate. I am one of the first people to receive them as a medical treatment, so my first-hand experience can be helpful to others. Like all treatments, this is not for everyone. But, for some (like me), psychedelic therapy can be life changing, a miracle to alleviate anxiety, depression, addictions, PTSD...

Before I wrote the show, I'd already been interviewed by Michael Pollan (for the Atlantic and his book), CNN+, The New York Times. Just last year, I was asked to perform a part of the show at a fundraiser during the California Democratic Party convention.

Ultimately, the play is entertainment. It's funny! Patient 13 isn't just about the study. It's a complete journey that makes the climax more rewarding. 

JS: How do you see the themes of intimacy and vulnerability evolving throughout the play?

GT: My willingness to be raw, vulnerable, and intimate with my audience drives the show. I speak to them like close friends, so they witness and participate in the narrative journey. Hopefully, my own understanding of the story deepens with each performance.

I think it's healthy to have conversations about "taboo" subjects. If we can be more open and fearless to talk about these truths together, we can overcome shame and are better able to heal and support one another. As a storytelling coach, I see this with every client that I guide on their journey of discovery. This show is an example that I hope liberates others.

JS: What do you hope to achieve with the audience talkbacks following the performances?

GT: People often want to chat after the show. In our brief run last year, we did one talk back and most of the audience stayed. People opened up, sharing their own stories. One woman said she learned something about her partner that he hadn't previously shared. Ultimately, that's why I'm doing the show. Talkbacks give the audience a voice and we can all support one another. It's not about me, it's about each of us recognizing and embracing their own truth. This way we truly see that we're not alone.  

Performances are Fridays at 8pm, Saturdays at 3pm, and Sundays at 1pm from August 16, 2024, through September 1, 2024. Tickets are $45 (Students $25, Seniors $35). The Rogue Machine at the Matrix Theatre is located at 7657 Melrose Ave, Los Angeles, CA 90046. For more information, click here.