Matt Hoverman is an award-winning, comedic playwright (2006 FringeNYC Best Playwriting Award; 3-time Heideman Award finalist; three 2005 Drama Desk Award nominations for The Audience, on which he was a co-writer) whose play Who You See Here is coming to off-Broadway soon.

Matt’s solo show class is where YO HOT MAMA(S)! was created. We decided to sit down with Matt and ask him about his teaching, his own projects and his thoughts on YO HOT MAMA(S)!

What drew you to working with actors on their solo shows?

I am an actor/playwright/director/teacher who, as of 2001, had taught classes in improv, acting, play writing, Shakespeare and public speaking with various theatres and schools – and I had a kind of aha moment. I realized that my favorite part of every class I taught was when I got the actors (or writers or regular folk) to tell their own stories. I also found that when I was cast in a play, I was far more interested in the hysterically funny and heartbreakingly sad stories my fellow actors told backstage (and the loopy characters they created in our off-time) than I was in the production we were all “officially” performing. Some actors feel completely fulfilled interpreting a role, but others (like me – and many of the actors who take my classes) long for the opportunity to express something more. Something from deep inside themselves. I decided to create a venue where actors (and writers and regular folk) would feel safe and encouraged and would get the support they need to turn the experiences of their lives (and the products of their imagination) into startling, fresh, original pieces of theatre. Since 2001, I’ve taught my “Create Your Own Solo Show” workshop over 45 times – and I continue to be moved and amazed by the heroic journeys ALL of us undertake in our lives. This class has confirmed for me what I’ve always suspected (to paraphrase solo show writer/performer Claudia Shear in BLOWN SIDEWAYS THROUGH LIFE) – everyone has a story that will stop your heart.

I’ve also learned, over the years of teaching these classes – that there are some simple, but important, principles that can really help solo show writers make their solo shows shine.

Who are actor/writers you admire?

First off, I admire anyone who takes that leap. It’s scary to be in a play, terrifying to write a play and see it performed – but to write and perform something that is about yourself in some way? That takes amazing guts! (And that’s why, when such a show works, it’s so thrilling and moving for the audience and the performer.) Other than all of my students (whom I adore), some of the actor/writers/solo show artists whom I admire include: Nilaja Sun (NO CHILD), Martin Moran (THE TRICKY PART), John Leguizamo, Eric Bogosian, Anna Deavere Smith, Spalding Gray and Julia Sweeney.

How was working with Karen and Natalie?

Terrible. I’m kidding! Both Karen and Natalie were a joy to work with – and it’s been especially fun to see how these two women, from such different backgrounds and generations, have found a resonance in their work onstage, and a true partnership in their producing efforts off-stage. I always encourage my students to find another solo show performer to partner with. You have to do so much work on your own when you’re doing a solo show, so it’s great to have a friend/co-conspirator to brainstorm with and to double your audience base.

As artists, I’m especially impressed with how Natalie consistently couples her brash humor with a sweet vulnerability that makes her story of multiple mothers very funny and very touching. I’m also especially impressed with how Karen has combined her wonderful acting chops with a talent and desire to educate and inspire, transforming her terrific story of reclaiming her sexuality in India into a galvanizing manifesto for women everywhere.

They’re also both cute as a button!

Anything interesting you’re currently working on?

In the summer of 2008, 13 of my students were accepted into – and performed in – various festivals all over the city, including the FringeNYC, the Midtown International Theatre Festival, the Manhattan Rep SummerFest, the Six Figures Theatre Company’s Artists of Tomorrow Series and estrogenius’ Sola Voce Festival. They all got rave reviews – and one of them won the 2008 FringeNYC Best Actress Award (Hogan Gorman, for her solo show HOT CRIPPLE) and one won the 2008 MITF Best Solo Show Award (Cheryl Harnest, for SACRED IS THE NEW PROFANE.)

This summer, another 13 of my students got into festivals and theatres all over NYC and New England – and I’m excited to see that shows from last year are getting picked up by other festivals and theatres, including Aja Nisenson’s PICCOLA COSI (which sold-out its run in the FringeNYC last year to rave reviews, and was selected for a run at NYC’s DR2 theatre in the prestigious SoloNOVA festival this year), Gioia De Cari’s TRUTH VALUES (which I directed in the Six Figures Theatre Company’s Artists of Tomorrow last year, and is being produced in the FringeNYC this year AND by Massachusett’s Central Square Theatre), and Cornelius Jones Jr’s FLAGBOY (which was nominated for 2 awards in the 2008 MITF, and will be performed in this summer’s DC Capital Fringe Festival.) 2005 FringeNYC Best Solo Show Award winner Cynthia Silver (BRIDEZILLA STRIKES BACK!) also just completed a run in LA’s Zephyr Theatre, where she snagged a movie deal to adapt her show into a screenplay! (For more info on all the festivals that my alumni are in this year: www.createyourownsoloshow.com/thelatest.com)

Personally, my playwriting career continues to move forward. My play THE STUDENT is one of 40 finalists (out of 718 submissions) being performed next week at Playwrights Horizons in the Samuel French Off-off Broadway Short Play Festival. And my play WHO YOU SEE HERE, which was given a sold-out run at the Barrow Group in March, has just been optioned by a group of Broadway producers, with the intention of bringing it off-Broadway next season. (For more info on my writing: www.MattHoverman.com)

And finally, I’d be remiss if I didn’t mention my wife Katie Atcheson (also an alum of my solo show and playwriting workshops), whose first play THE DUCK INCIDENT was made into a short film recently by Emmy Award-winning filmmaker Barbara Rick. (Look for it soon!) Katie’s also in a terrific play SEAL SONGS in the 2009 Midtown International Theatre Festival this July, which is being produced by our theatre company Thisbe Productions. (For More info: www.sealsongstheplay.com)

What keeps you inspired?

The wonderful artists and human beings who are my students. I just began a new Level One workshop last night and it was very powerful. I always begin my workshops with the same exercise, where I ask my students to tell their whole life story in one page. This first class is my favorite, because I’m always so surprised and blown away by the lives people have lead. They walk into class, and you can’t help but make small judgments about the “kind of person” each student appears to be – but by the end of the 3 hour class, your image of who each person is has fundamentally changed – because they’ve shown you a piece of their souls. It’s magic.

I’m also inspired by comic books. Because they’re cool. And I’m a geek.

What brought you to writing a solo show?

For the past several years, I was an actress doing tons of leads roles in some fabulous plays for many years, but when I got here to New York 5 years ago, I had this really strong intuition to write, and I did…a TV pilot script, film script etc…where I’ve had some great response in LA.

I have also been on this kind of wacky spiritual trip and wound up in India two years ago. I went to get enlightened…you know, like when you even get off a plane in India, people think you’ll be struck by some kind of cosmic lightening! Well, that’s what I thought…and that is SO not what happened.

I came back and told the stories, and my writing group said to me, “You have to write this and perform this…it’s a riot.”

How did you manage to keep it funny yet kind of deep?

My life is kind of like that. I have had to deal with some pretty deep stuff in my life but I come from an Irish/Italian family where even in the midst of all that, we would just laugh! It’s like at some level, life is a big joke, and the more you see that, the funnier it gets. As an actor, I did a lot of comedy…I always found the humor even in the most serious plays, and that is how I write.

What do you enjoy most about the show?

It’s sexy and fun, and I love to do it, and it has some pretty profound stuff in it at the same time…(that is not my review, but the raves we got from our sell-out crowds at HERE Arts Center.

Oh, and here’s a big piece…working with Natalie and Ken, and having workshopped it with Matt Hoverman, who also directed my piece.

These people are the best…so friggin’ talented, personable, supportive.
Natalie and I just get such a kick out of each other and work together beautifully, as we did with Matt, and now Ken…he’s such a peach!

What are some challenges you’ve had?

There’s always the big one…meeting my own high expectations. But other than that, not a lot, actually…the writing just poured out on this one (that is not always the case, and the response has been great!). I think the biggest issue initially was…who would want to come and see me up there telling my story? With an established piece of theater, you know that people are familiar with it, want to see it…with a solo show…you’re hoping they do J.

Who are some other solo artists you look up to?

Barbara Streisand – as a singer, actress, writer, director, producer…she is a model of amazing talent.

Lily Tomlin – I saw her show “The Search for Signs of Intelligent Life in the Universe”…she and Jane Wagner are geniuses!

Where to next?

I would love this to propel my theater/media career forward…to get this Off-Broadway, with the right backing, and to get the right agents to promote me and my scripts.

What’s one sentence to sum up your show?

It’s a hell of a lot of fun, and such a kick seeing a woman really live life!

What’s your show’s theme song?

“Don’t cry for Me, Argentina”…No, I’m just kidding…that came up and made me laugh. Probably “Don’t Rain on My Parade”…’cause I’ve had quite a parade and it just keeps getting better.

YO HOT MAMAS: : What brought you to writing a solo show?

Natalie: When I was a small child, I always enjoyed creating my own work. I remember having two tape recorders and clapping in one and then recording that recorded clap with my actual clap over and over until I had…viola! Applause. I would create little skits with different characters and voices. From a very early age I was all about producing my own work.

Last summer I saw Passing Strange which was an amazing example of self expression which was also entertaining. It was a personal journey presented in a humorous way yet was touching. I thought to myself, I gotta do something like that. The idea of doing a solo show was very exciting, yet also scared me to death. I have a high standard of what I feel is good content. I feel very confident as an actress, writing is something that I was nervous about. I wanted to make sure the piece I did was not some soggy, sobby story.

YO HOT MAMAS: : How did you manage to keep it funny yet kind of deep? That’s a hard balance to strike.

Natalie: Right! That’s what I was a little obsessed about. I worked with Matt Hoverman and he is a friggin’ genius, just an absolute genius in workshopping your work and elevating it to a higher level. My show has a lot of elements about my life: being adopted, having three moms and the potentiality of it being a sob story freaked me out. Most importantly, I wanted people to laugh really hard but also wanted people to feel touched. Going back to Passing Strange, there was a moment when Stew had the lights shine on the audience and says: “We’re all in this together” a few times, slowly and deliberately. And you realize/remember: “Yea, we are connected!” I wanted the audience to feel that without overtly saying it or stealing that device from Stew’s show.

YO HOT MAMAS: : What do you enjoy most about the show?

Natalie: I love the creative self expression of letting others what I’m all about. Growing up, I thought my life was normal but the rest of the world didn’t agree. I’ve always had to explain my life story, why that happened, how many parents I’ve had, etc. etc and I feel this show is a culmination of all of that.

I love the collaboration I’ve had with Karen. She is a terrific actress and person and she has become a really good friend. I’m very lucky to be working with her. You look at us and you see this white lady and Korean-American girl and you’re like, huh? But somehow the shows really compliment each other. We have such a similar attitude about life, performance, singing, being irreverent and keeping it real (we aren’t pretentious people). We have these moments where we’re like children, wide eyed and giggling: “Can you believe we’re doing this?” and it’s a joy.

Working with Ken Heaton, my director has also been a joy. I’m all about filling in my weak spots and Ken is brilliant at sifting through the work and gently making it brilliant. I don’t know how he does it, but he’s pretty amazing.


YO HOT MAMAS: : What are some challenges you’ve had?


Natalie:
How stupid I felt when I first started writing this show. I thought all of my ideas were lame, that everyone in the workshop/class was awesome and I was terrible. So the first three weeks I spent overcoming the: “I can’t write” thing. My biggest challenge was me.

YO HOT MAMAS: : Who are some solo artists you admire?


Natalie: I remember seeing Spic-O-Rama and just being floored. Here was this man, John Leguizamo, dressed as a woman and he became this woman. He was not a caricature, he was the woman at the laundromat. I could not tear my eyes off of him. His work had always left an impression on me and I has hooked. I feel he’s one of those uncelebrated actors, he’s hella talented and no matter what I’ve seen him in, I love how he brings it.

I’m crazy about Taylor Mac. He is someone who is in his own stratosphere.

I also admire Lily Tomlin and of course Danny Hoch. Danny Hoch is not only an artist but a man with a message and integrity. In terms of other Asian solo artists, I also dig Becky Yamamoto and Haerry Kim. Both whom I’ve had the pleasure of working with.

YO HOT MAMAS: : Where to next?
Natalie: I’m starting to exercise and eat better. Solo shows require stamina!


I’m very excited to see what else this show brings. Not sure where it’ll lead but I have a feeling it’s good stuff.

YO HOT MAMAS: : What’s one sentence to sum up your show?
Natalie: Natalie Kim: One girl. Three moms. Lots of laughs.

Those are three tiny little sentences. Sorry.
YO HOT MAMAS: : What’s your show’s theme song?
Natalie: I’ve thought long and hard about this because I’m a Met’s fan and I love when the players step up to the plate and have their theme music. Everyone should have their own theme song of life or the life they aspire.

It would have to be Wooh Alright Yea! Listen to it, it’s hilarious! I always felt like when I see shows (concerts) I’m dancing my ass off and I look around and these people and they just stand there looking at the band as if to say: “Entertain me. I’m too damn cool to move a muscle.” I don’t get that. When I heard this song, I was like…YEA, exactly!!! Can you just try to have motherfreaking fun?