Everyone at WorkShop Theater Company knows that Ken Jaworowski has been engaging audiences with plays that always examine and expose humanity at its most intricate; and with great humor, pathos and story. So grab a seat and get ready to rock out with “Believers.”
So you’re pretty prolific, Ken. How many plays have you written and how many have been produced by the WorkShop Theater Company?
I’ve had three plays produced on the Main Stage at the WorkShop in the past: “Certain Souls,” “Never Missed a Day” and “Interchange.” I’ve had quite a few short pieces and readings done on our smaller stage. While most of my work has been produced at the WorkShop, I’ve had a handful of plays that have been produced elsewhere, most notably ‘Acts of Redemption,’ which had a monthlong run at the Fringe this year in Edinburgh, Scotland.
What inspired the idea for BELIEVERS?
“Believers” was inspired by two true stories I heard. A friend told me one, and coincidentally, a week later, I was reading a book that mentioned a similar tale. I was intrigued. So as not to give away any of the plot, I can’t get into specifics, but I’ve love to tell you about it after the show one night. Ask me!
How does it feel watching the actors? Is there a part of you that would like to time travel in your relationships?
Actors are incredible people. To watch them is inspiring. Sometimes they stress a word or take a pause in a way that can make me see a scene in an entirely different light.
I would not like to time-travel — too much angst back then! — but I admit to sometimes reevaluating past relationships, as I’m sure we all do. I recently had dinner with an old girlfriend I hadn’t seen in more than 20 years. Our relationship ended with a lot of tension, but by the end of our recent dinner, we were fond friends again. Time changes your viewpoint so much.
How has the play changed during the development process?
I tend to overwrite a bit early in the process. The biggest changes come from trimming down the script and finding that five words can often tell as much as ten, and silences can sometimes speak even louder. That was the biggest change — to chip away, to avoid overexplaining.
What do you want audiences to come away with?
If I can just tell a good story, my job is done. It’s the audience’s job to read into it or not. In that way, theater becomes a shared experience.