A Conversation with Playwright Mike Teverbaugh, “The (Mostly) True Story of a Common Scold,” Promenade Playhouse, by James Scarborough

Mike Teverbaugh’s “The (Mostly) True Story of a Common Scold” is a fascinating look at American history through the lens of Anne Royall, the nation’s first female journalist. This play delves into the fraught tensions of the Jacksonian era, where the influence of evangelical leaders sought to reshape America’s ideological landscape. Royall, portrayed by Dendrie Taylor, emerges as a powerful figure, determined in her quest to preserve the secular integrity of the Constitution. The narrative is anchored in her defiance against religious extremism, dramatizing her relentless pursuit of truth despite mounting threats and physical dangers. Natalia Lazarus’s direction accentuates the urgency of the themes, crafting a dynamic interplay between the characters that underscores the play’s historical relevance and contemporary resonance. The ensemble cast, including performances from Zuri Alexander and Tom Waters, brings a tangible intensity to the script’s confrontations. The set design by Chris Kooreman further amplifies the era’s atmosphere, transporting us into the tumultuous 1830s. Teverbaugh, a seasoned television writer, infuses the play with a sharp wit and poignant social commentary, making “The (Mostly) True Story of a Common Scold” a vital contribution to contemporary theatre.

JS: How did your background in journalism and television writing influence your approach to dramatizing Anne Royall’s story?

MT: I was drawn to her story because of my background in journalism. And because I wrote for television, I was inclined to think of telling her story dramatically. And as I researched her life, it presented a bunch of dramatic opportunities. Anytime someone is the first one to do something, there’s likely to be a fair amount of trials to face and obstacles to overcome. Anne definitely dealt with more than her share of both.

JS: The play tackles themes of religious extremism and its impact on American democracy. How do you see these historical conflicts reflecting our current sociopolitical landscape?

MT: It seems pretty obvious. Google “Christian Nationalism” and you get a long list of entries. It’s so pervasive and insidious that there are even groups of Christians who have been moved to oppose Christian Nationalism. From overturning Roe v. Wade to the various efforts to deny gay, transgender and women’s rights, there are plenty of people trying to use religion to justify, well, intolerance. To limit choices for the rest of us. Project 2025 may not advocate Christian Nationalism explicitly, but it certainly advocates for public policy based strictly on Christian values.  There is a lot to Anne’s life story, but the rise of Christian Nationalism at this point in time is the reason I chose to focus on her crusade against what she saw as rampant religious hypocrisy. She saw it as dangerous, a threat to the fundamental principles of the nation. She was a Christian, she lived by those values, and she had enough respect for the teachings to be angry at those trying to use them as a bludgeon.

JS: What drew you to Anne Royall as a central figure? What challenges did you face in bringing her complex character to life on stage?

MT: I liked her passion, her conviction, her humor. And a major challenge, as I indicated above, was keeping the focus on a particular point in the time of her life. She is not a well known figure, so the traditional “biopic” approach of writing to the familiar tentpoles of her life wouldn’t work. I had to focus on one of the many stories of her life, and the social/political realities of today helped provide that focus.

JS: In collaborating with Natalia Lazarus and the cast, how did you approach the interplay between historical authenticity and dramatic interpretation?

MT: I got a lot of questions about the “mostly” part of the title. That word is there for a reason. The play is not a documentary. Nor are the facts of her life merely a jumping off point for a largely fictional story. It was important to me, for example, to use Reverend Stiles’ actual speeches. Edited, of course — I needed to take words out of his mouth but I did not want to put words in it just to suit the narrative. Also, Dendrie Taylor, playing Anne, was particularly concerned that we be honest about who Andrew Jackson was politically, and Anne, for that matter. Anne was not an abolitionist, and Dendrie pushed for at least mentioning that. My concern was to not bring so much of the politics surrounding Anne into the story that it would muddy waters and dilute the point we were trying to make.

JS: As a playwright transitioning from television, what narrative techniques or storytelling elements did you bring to this theatrical work that differs from your previous experiences?

MT: In television, almost any set or location you can dream up will be created for you. Within reason, of course, but still — you want a church, a swimming pool, a cornfield, you got it. Not so much in theater. Certainly not the small theaters that a guy like me has access to. So I had to figure out how to tell this story basically on a bare stage. With as few actors as possible. That was one of the things that drew me to the Promenade Playhouse. They are set up to project sets and backdrops, to evoke the period at the very least.  And Natalia and the crew there are great at using the resources they have to enhance the story you’re trying to tell. To create … a spectacle.

Performances are Friday at 8 pm, Saturday at 7 pm, and Sunday at 2 pm. The play runs from September 20th to October 27th. Tickets are $35. The Promenade Playhouse

Tickets available at:  https://www.laproductions.org/shows-tickets