Kimberly Senior
Rachael: How did you up in the wacky world of theatre?
Kimberly: I grew up going to theater—I think I was in my first play at day camp at the age of 3—one of the little ballerina girls in Wizard of Oz. My grandfather had been a manager of theaters, my parents were active theatre-goers in the New York area, and I was always encouraged to do it. I was never going to do anything else. It’s weird.
What’s the best part about being a director?
Bringing a group of people together and creating a world and story with that group in which the audience then becomes immersed.
How did you develop such a passion for Chekhov?
I really, really hated Chekhov. I thought I was missing the boat- it felt so stuffy and inaccessible. I even punished myself by taking a Chekhov intensive acting class in college—I was playing Sonya in Uncle Vanya and nearly lost my mind that the poor girl loved Astrov for eight years and never told him- or anyone else! If you know me you know I can’t go eight minutes without letting someone know I’m totally in love with them. It was that kind of scenario that kept me at such a distance from the material. Then I met Curt Columbus. And we would just casually talk about Chekhov. And he told me the plays were about people who wanted to have sex with each other, and betray each other, and protect each other, and love each other. And he shared his translations with me and they were electric and athletic. And I fell in love and wanted to communicate that passion to others. I love being in the audience and hearing someone say “I thought I hated Chekhov!” Or when my dad saw my Three Sisters and argued with me that it must be an adaptation because he didn’t remember the play the way he saw it that night.
If you had to live as a Chekhovian character…who would you be?
Tough. At the beginning or end of the play? Dunyasha in Cherry Orchard really claims her sensual being and her agency over her own life in that play. But who wouldn’t want to be Astrov…everyone’s favorite sexy environmentalist doctor?
Besides Chekhov, who are your favorite playwrights?
Arthur Miller writes great message plays without them ever seeming like message plays.
Tennessee Williams writes the sexiest, sweatiest plays.
Suzan-Lori Parks has re-invented theatrical language.
Tony Kushner can make me cry in an instant.
August Wilson shares history in an unbelievably accessible way.
I know that ensemble work is important to you….what makes a good “ensemble actor?”
You’re only as good as your scene partner. Really. Find the answer in your partner. Listen. Have 360 degree awareness- of the other people, the scenery, the lights, the clothes, the sounds. Always think about the web you’re a part of when you are on stage. Bring good snacks.
If your house caught on fire, what two inanimate objects would you grab?
It would be tough to grab, but my grandfather was also a sculpture and I have a sculpture of his which I think weighs over 100 pounds! And I have a diamond of my grandmother’s which is irreplaceable. And my extensive journal collection- I’ve been a journaler on and off since the 6th grade. Wait, that’s more than 2 things…
What is the tackiest thing you own?
My bright orange down vest.
What do you love about actors?
Their willingness to try just about anything. Their bravery. Their senses of humor.
What drives you crazy about actors?
Jealousy. Insecurity.
You grew up in New York….what keeps you in Chicago?
I came here on a whim, for a summer. I didn’t own more than I could fit in the backseat of my car for about 6 years. Chicago has put a spell on me. I can (kind of) afford it. I make a living making theatre and teaching it. I founded a theatre company here. I am constantly meeting new people in my field. I’ve fallen in love a couple of times, have two amazing children who are putting their roots down here, and I definitely have some favorite restaurants.
It isn’t theatre if……
I feel the same way leaving the theater as I did walking in. |
