A Conversation With Director Michael Massey, “Spy for Spy,” Whitefire Theatre, by James Scarborough
September 18, 2024
Michael Massey’s direction of “Spy for Spy” at the Whitefire Theatre introduces an innovative approach to storytelling that challenges traditional narrative structures. Under his guidance, the play unfolds as a romantic comedy with an experimental twist: each performance varies based on the sequence chosen by the audience, creating a dynamic experience that mirrors the unpredictable nature of love itself. This format, akin to a shuffled playlist, reflects the complexities and nonlinear aspects of relationships. Massey’s direction amplifies Kieron Barry’s script, which cleverly juxtaposes contrasting characters—an uptight lawyer and a free-spirited dreamer—whose love endures despite their differences. The audience’s role in shaping the play’s sequence adds a layer of engagement, transforming passive viewers into active participants. Massey’s previous works, such as “Seminar” and “The Twins of Gillygate,” demonstrate his ability to build narratives that resonate with audiences. In “Spy for Spy,” he leverages this skill to explore the theme of love’s persistence amidst chaos, using humor and poignancy to capture the emotional roller-coaster of a relationship. The result is a theatrical experience that is both refreshing and thought-provoking, encouraging us to consider whether life’s moments are more meaningful in or out of order.
JS: How did you approach directing “Spy for Spy” with its unique, non-linear narrative structure?
MM: Knowing we cannot expect the same narrative, we approached the play with two methods – storytelling and practicality.
Storytelling-wise, we wanted to ensure the key subjects of the play were lifted in each scene. The audience can learn new information at any time. As opposed to a more predictable structure where the audience learns the same information at the same point, we needed the key reveal of each scene to feel like a pay-off.
Practicality-wise, we take for granted pre-setting or re-using props. Theatre is all about using the resources available in the time you have. And the problem we wanted to solve with our resources was having the actors feel comfortable and confident with the non-linear approach. This means we looked for ways to simplify the design elements to spend more time on the actors’ storytelling.
JS: What challenges did you face in ensuring each performance remains cohesive, given the audience’s role in selecting the scene sequence?
MM: Determining the main narrative moments and how they thread throughout each scene. You have to ensure the audience can track each narrative thread and feel like they are capable of actively making predictions as they put the pieces together. We started by identifying the narrative function of each scene - how it furthered their relationship. Although we could not predict what order the moments would be in, we know that the same moments would occur each night. By leaning into the story as a collection of moments that make up a relationship, we can yield a more consistent impact.
JS: How do you think the play’s randomized scene order affects the audience’s perception of the characters’ relationship?
MM: Non-linear storytelling is not a new concept– we are familiar with devices like flashbacks and split locations. What’s new about “Spy for Spy” is that the audience is aware there isn’t a “true order.” So it makes their minds more actively engaged in putting the pieces together.
The play’s vehicle is a collection of memories. We as people don’t think of events in a particular order. The memory comes based on what we just experienced - a smell, a photo, a song. We wanted to shuffled playlist to resemble how people recall thinking of someone important to them.
JS: Discuss your collaboration with playwright Kieron Barry in bringing this story to life on stage.
MM: Kieron is a delightful human who’s true gift as an artist is putting trust in his fellow storytellers. Kieron understands how to craft storytelling that allows for playfulness and discussion. Kieron is willing to let everyone play, to have interpretation on each moment. He also has great taste in desserts and cats.
JS: How did your past directorial experiences, such as “Seminar” and “The Twins of Gillygate,” influence your direction of “Spy for Spy”?
MM: My process is achieving simple storytelling done well. The focus is on the relationships between the characters as they fight for their idealized version of the world, debating their conflicting views. To get there, as a leader I need to instill an environment where the actors feel safe to offer ideas and experiment.
”Seminar” as a monoset, modern story taught me how to put trust in actors. To allow them to feel empowered to make their own choices. “Survival Check” as a new play with a fantastical element taught me that overcomplicating the tech can lead to muddied final product.
I took those lessons with me into “Spy for Spy.” We decreased the focus on tech. The key was to empower the actors so that they can solve any problem. We predict everything that will happen, but we can build the resiliency in the actors to handle any new situation. The only way this randomized play works is to make the actors feel included in decisions and empowered by a plan.
JS: What specific elements did you emphasize in the actors’ performances to convey the unpredictability and randomness of love?
MM: That it doesn’t have to be serious. It’s easy to fall into the trap of this play as a head of heels love story. And Kieron’s writing is akin to a slice of life dramedy and the story builds by observing the interactions between the characters. Love isn’t about a specific event; it’s about how you show up. The willingness to do the work for your partner. With each scene we asked the actors - how are you showing up for the other right now?
JS: How do you balance the comedic elements with the deeper, more tragic undertones of the play?
MM: Life is about balancing both. Humor and tragedy are ways of connecting. Why are you trying to make them laugh? How are you both dealing with the tragic event in the room? Kieron has already given us words and situations that will be either funny or tragic. We have trust in the text. That it is enough and put the focus on having the actors use circumstances to fight for a deeper connection between each other.
JS: What do you hope the audience takes away from their experience?
MM: We don’t feel our emotions by trying to logic them; we simply sit with them. This play is meant for you to just feel for one scene then feel for another scene. The lack of order is meant for you to feel a collection of moments. If you walk away and think about someone in your life who has a complex relationship – think about how much you may be trying to rationalize it as opposed to all feelings just existing at once. All of those feelings are true. Maybe after the play, communicate all those complex and true emotions you experience. They may say - Hey. Me Too.
JS: Does the shuffled scene order enhance or challenge the traditional storytelling format? Why?
MM: The shuffled scene order makes you have to support the actor and crew through their lack of control. You go into each run knowing – it won’t be like last time. How can the actors use that loss of control in the circumstances of the story?
From a micro element of – You can’t control if those shoes were left onstage last scene – Should I correct it? How should I use the moment to do that?
From macro elements to – I can’t control how this other person feels about me in this relationship. If I do this, can I convince them? What happens if i just let go trust? Is that too terrifying to risk rejection?
Like all love – we have to give up control to take that leap of faith.
JS: How do you envision the audience’s role in the success of this production?
MM: A goal put for each story is to have the audience leave with a new thought that helps them to better exist with other people. Our work is to increase the empathy, understanding, and acceptance of our fellow person. By seeing how Sarah and Molly work together to navigate their relationship and all their obstacles – I hope you find a way that they handled it that could be useful for someone else in your life. A success for me is the idea planted of “how do i better support someone in my life that is challenging to me?”
Performances are Thursdays, September 5 through October 10, at 8:00 p.m. Tickets are $24 through September 12, $38 thereafter. The Whitefire Theatre is located at 13500 Ventura Boulevard, Sherman Oaks, CA 91423. For more information, click here.
Photos of Meeghan Holoway and Andrea Flowers courtesy of Rafael Llamas.