10 Questions for NCTC Playwright Stephanie Timm: Q: Where did you get the idea for On The Nature Of Dust? A: I heard this crazy statistic that 40% of Americans don't "believe" in evolution, and I was shocked by that. I grew up in the Midwest, and don't ever remember there being any controversy over that theory when I was in school. Anyway, I thought that statistic was very telling in terms of how divided we are as a country, so I wanted to write something that would embody that debate. But when I started writing, the more emotionally grounded story of a mother/daughter came out. That happens a lot, I start writing about one thing, but then end up writing about something else. I like to let the work teach me something. I think that evolution in this play, or devolution, is really the metaphor that embodies what happens to daughters when they hit puberty--they become totally different beasts. I personally had the world's nicest mom, and I was a pretty good kid, but when I became a teenager, I remember having these ridiculously emotional arguments over leaving too many shoes in the entryway and trying to eat Doritos for breakfast. Q: What is the significance of the title? A: On a language level, I like that "dust" has both religious and scientific connotations. Q: Explain the setting - the midwest - how does that affect your writing? A: I grew up in North Dakota, and I actually don't know of a lot of theatre set there. I think Midwesterners are an interesting stock. Very stoic, to over generalize--they suffer with a smile and are very polite, but underneath, there are dark waters. I think it's a mistake to assume that because they (we) are polite, that we aren't intelligent or deep thinkers. I'm constantly compelled by that seeming contradictory nature. Q: Tell us about Shirley Bliss. She's a pretty horrible mother, isn't she? A: She's just really immature. I think she means well and is always doing the best she can. That's why I love her. She does have good intentions. She can't bake, for example, but she still brings Oreos to the bake sale. She wants to contribute. She's also very insecure and invests a lot of her self-worth in her boyfriends. She doesn't realize she's a fuck up. That's really her journey here, an immature mother grows up. Q: How do you see the future of playwriting in the theatre? What's missing right now? What feels new and exciting? A: Not to beat a dead horse but--NEW WORK! I find the plays that are being written right now (not necessarily the plays theatres are doing yet), are highly theatrical, funny, moving, exciting, an thought provoking all in one. I like plays that feel like they have to be experienced live and in a theatre. I also just love the raggedy nature of theatre as an art form. You see the lights hanging above you. You see where the stage ends. You know where the speakers are. But still...you go in there with a group of strangers and forget all that and experience a story together. I think that's really cool. Q: Explain your process for writing a play. A: It's all about avoiding the inner critic, especially for the very beginning. If I get too intellectual, that kills all joy and discovery. I just try to explore the world through the characters, and organically come up with story and world. Sometimes it's a slow process, but I try not to write anything "good" or even have that expectation until much, much later. Q: What is your relationship to language? How is that reflected in your dialogue? A: I first wrote poetry, prior to writing for theatre. One thing I think they have in common is sound. When I first started writing plays, I paid meticulous attention to the way everything sounded. I love plays that transcend time and place and, for me, writing dialogue that is more poetic helps that. That said, I don’t think of DUST as particularly poetic. Q: Name three exciting contemporary playwrights you admire. A: Bekah Brunstetter, and Kimberly Rosenstock. are writing exciting stuff, and I'm a huge fan of Will Eno and Jordan Harrison. It's hard to narrow it down because I LOVE to read new plays, and there are so many exciting voices out there right now. Q: What cd did you listen to last? Does music play into your writing process? A: CD? I don't think I even have any CD's...everything's on my computer! Yes, usually music plays a huge role in my writing, and I have a song list for each play. One thing that music really does for me, that I hope my plays do too, is get me to an emotional place in an instant. I can listen to Jesus for the Jugular by The Veils and immediately get to a dark, angry place. I can listen to With My Eyes Closed by the Raveonettes and immediately feel sad and full of longing. Q: What famous (or obscure) play do you wish you had written? A: I don't know if this is famous or obscure, but I love "Iron Mistress" by April DeAngelis. It's heightened, poetic, theatrical, funny, dark, scary, beautiful, and ugly and I really wish I'd written it.