Whitney White

And then being a director is very funny because, one, there's not many of me out there.

And so I'll be in spaces a lot of times where, like, I'm supposed to be in charge.

I'm supposed to have this mandate.

And then someone is literally just literally interrupt.

I can't even get out.

a sentence.

So playing with that, especially in some of our first scenes in the play, it was so fulfilling and fun, you know what I mean?

Because of course you can take something that's painful and turn it into something that's hilarious so more people can access it.

So yeah, that line, I think it's something we all need to hear and Bess has kind of channeled that in the play.

so well, how radical is it for a woman to tell her story and to tell it without being interrupted, you know?

When the characters stand up, it's funny, like each time in that first scene, basically in the first scene of the play, you meet each woman and you hear a little bit about their lives, how they came to be there.

and each little kind of happening is like a little baby moth story.

You know what I mean?

Because each woman is like, hi, I'm so-and-so, and they start trying to introduce themselves to the group, but of course their inner pathos and deeper need opens up, and then something that they don't expect comes out of them, which is kind of why I love the moth stories.

I feel like they always take me on a journey like that, and so does Bess's writing inside these characters.

I mean, when you really break down that phrase, consciousness raising, it's kind of just like a tectonic huge thing.

Because think about the things you accept to be true and possible for yourself in your life.

And what if you could look above those assumptions, those things you've been taught, to find a new level of understanding of possibility?

That's what that means.

And that just when you start there, that we all might need to raise our understanding of what's possible.