A Conversation with Director Ann Hearn Tobolowsky, "Beatnik Girl," Theatre 40, by James Scarborough

In "Beatnik Girl," playwright Leda Siskind scripts a fascinating narrative that intersects with the cultural zeitgeist of 1957 New York's Lower East Side. Through the character of Edie Gordon, Siskind explores the complexities of artistic ambition colliding with societal constraints. The play's setting during the Beat Generation provides more than mere historical backdrop; it serves as a mirror that reflects contemporary discussions about gender equality and artistic freedom.

The production, directed by Ann Hearn Tobolowsky, demonstrates a keen understanding of the era's social dynamics. Tobolowsky's direction navigates the balance between period authenticity and modern resonance, notably in how it addresses themes of misogyny and antisemitism. The incorporation of original poetry throughout the piece creates a rhythmic structure that echoes the Beat movement's literary innovations.

Jeff G. Rack's set design anchors the narrative in the gritty realism of 1950s New York while allowing space for the play's more lyrical moments. The ensemble cast, featuring Rebecca Del Sesto, brings to life a world where artistic expression becomes both sanctuary and battlefield. This world premiere at Theatre 40 marks an important addition to contemporary theater's examination of historical movements through a contemporary lens.

Below follows an email conversation with Ann Hearn Tobolowsky.

JS: How did you approach the challenge of representing the Beat Generation's artistic fervor while maintaining focus on Edie's personal struggle?

AHT: Leda (the playwright), Jeff (set designer) and I (and all the actors) talked about music, historical writings, photography, cultural ideas, art – all as expressions of a world in change.  The period is a transitional moment between the difficulty of the World War years and what would develop into the hippie movement, with free love expression and antiwar protests.  The play and the Beats grow in the cracks of that, with many of those ideas going on to be part of our world today.

JS: What considerations influenced your directorial choices in handling the play's themes of misogyny and antisemitism?

AHT: I wanted misogyny and antisemitism to be part of the “normal world” of that day, which our main character begins to see with clarity. Her vision evolves into her resistance, and eventually, her contempt. Today, we recoil from the horror and entrapment of a boss pursuing you.  For many people in the 1950’s that behavior was accepted – and perhaps even expected. And limitations on the lives of women were common.  Antisemitism was part of the mainstream, and if not obvious, alive in subtle ways. As director, my goal was not to hit anyone over the head with the horrors of the past, but to have these social norms be ubiquitous and pervasive.  Perhaps the audience will experience it and respond in their own way, as does our character Edie in the play.

JS: How did you collaborate with Jeff G. Rack to create a set design that captures both the physical and psychological landscape of 1957 New York?

AHT: We talked about space, how areas might be defined and overlapped. I wanted to combine real items of the period with symbolic suggestions. We were hoping, just like the poetry of the period, that the melding of music, light, and space will make the stage transitions as simple and fluid as possible.

JS: How does Leda Siskind's original poetry integrate with the narrative structure of the play?

AHT: Thematically the poetry is 100% perfect - in subject matter, emotional ideas and musicality. Plus, it is GOOD poetry! That’s not an easy thing to pull off.  Leda set out to write a character that is considered by peers to be accomplished – and she actually delivers on that! It is one of the things I enjoy most about the play.

JS: How did you work with Rebecca Del Sesto to develop the character of Edie Gordon?

AHT: Mostly I followed Rebecca’s lead and instincts. We looked to simplify. To find the moments when the character of Edie grows, realizes, and eventually advocates for herself. As a heroine, I wanted her to find the transitions between being an agreeable person and one coming to realize she can and will stand up for herself.

Rebecca naturally has these qualities as a person. In the play, Edie has a dream and she makes that dream come true. Perhaps not in the way she or we might have expected - but she finds a way nonetheless. I encouraged Rebecca, as Edie, to find the ways she surprises herself.

JS: What elements of the Beat Generation's aesthetic influenced your staging decisions?

AHT: Costumes certainly, but most definitely music.  We are hoping to have a special surprise on that.

JS: How does the play's exploration of unwanted pregnancy resonate with contemporary audiences?

AHT: Right now in our world, it is a question and issue in the forefront.  It was never an easy question, but there is now fear and uncertainty about what new limitations and consequences face young women today.  Many feel we are living in an era of throwback and there is a lot of concern about the future.  Exploration of this certainly feels critically relevant.

JS: What role does music play in establishing the period atmosphere of the production?

AHT: There is the music of the play, and of the poetry presented in the play.  And there is music in the transitions - thematically the play is made up of small ‘movements’.  Music will function to help us move from scene to scene.  I am very excited about this.

JS: How did you balance the play's serious themes with its elements of "poignant humor"?

AHT: People try to survive with humor and finding perspective.  I encouraged the actors to find each character’s way of survival with those tools whenever possible.  Can they deflect or defend themselves with a joke, a diversion, and wit?  To appreciate it in other characters and to enjoy it when they find themselves able to express it.  We all walk a survival tightrope, literally or emotionally.  And the playwright has plenty of irony, surprise and understatement to provide the humor.

JS: What do you hope audiences will take away from this exploration of artistic freedom and personal identity?

AHT: I hope audiences will find inspiration and encouragement.  We get historical perspective in the play, but I don’t want it to feel like a history lesson.  Can we see ourselves in these characters?  How do we define our “me” and what is the path to becoming that?  Are our parallels a part of life in every era?  Can we celebrate large and small accomplishments, honor other people, make the world better in our own little personal way.  In an era of restraint, some people broke free of those limitations and it does feel the world has moved, or has the potential to move, in incremental ways to a fairer place.

Performances are Thursdays through Saturdays at 7:30 p.m. and Sundays at 2:00 p.m., March 20 through April 20, 2025. Tickets are $35. Theatre 40 is located at 241 South Moreno Drive, Beverly Hills, California 90212. For more information, click here.