When a young data scientist meets the girl of his dreams at a party, he can’t help but predict the various routes their relationship will take. After running all of the numbers, he comes to the conclusion that their relationship will inevitably never work out. The question is: should he pursue her anyway? “Inevitable” explores each and every eventuality before coming to an unexpected – and unpredictable – conclusion.
Dickens’ works have been performed by organizations including the Sundog Theatre in New York City, FUSION Theatre (Andaluz/Audience Awards), Playwrights’ Round Table (Best Script/Show), and the Paragon Festival in Chicago. Her first full-length, Exit Wound, was a finalist for the Actors Guild of Parkersburg’s “Giving Voice” initiative and her second, The Consciousness, was performed at the Cincinnati Fringe Festival and Tampa Bay Theatre Festival (Best Full-Length Play). In 2020, her play Dark, Dark, Dark will be workshopped at the Mid-America Theatre Conference. Her most recent full-length, Phyllis/Philomena, will receive a staged reading at Flexible Grey Theatre in spring of 2020.
A BIT ABOUT THE PLAYWRIGHT
1. When did you start writing plays? If you had a moment where you realized you wanted to write, what was it?
I do not remember life before writing. While it was only two years ago that a friend challenged me to write my first play, I have been processing the world through the page since I was four years old. When I was young, my imagination was so vast and hungry that writing itself often wasn’t enough – I lived out the worlds I imagined in my head. One afternoon, when I was probably about ten years old, my mother gave me a journal and told me that it was time to put everything into writing. I’ve still have that journal and I’ve been following her advice ever since.
2. How did you come to write your OOB play? Was there a particular inspiration behind its creation? How has it developed?
Two years ago, FUSION Theatre in Albuquerque put out a call for plays that fit the theme: “The Rest of the Story.” I was working as an orchestra administrator and used my punishing commute to think of story ideas. I was listening to the song “Greek Tragedy” by the Wombats. There’s a line that goes: “I wanted this to work so much I drew up our plans on a chart” and I desperately wanted to show this concept visually. The next day, sitting at my desk, I plotted various twists and turns of a relationship on a couple of stickie notes. The play went on to win the Andaluz and Audience Awards for Best Play at FUSION and then to be workshopped at the Mid-America Theater Conference in Kansas City. The ending has changed and some of the dialogue has improved since my first draft, but the theory remains the same. I have a deep and abiding need to enter into relationships with others and be loved – the play reflects my honest frustration at a human inability to get on the same page.
3. What are 5 words that describe who you are as a playwright?
Challenging, empathetic, furious, passionate, queer
4. What/who are some of the major influences on your writing?
I arrived at playwrighting late in life so my influences mostly come from the world of prose: Faulkner, Steinbeck, and Dostoevsky. I love Hemingway’s dialogue and the desperate ache that fills his work. I take a lot of inspiration from Gabriel Garcia Marquez’s magical realism. If a friend of mine lets in drop that they’ve never read Marquez, I promptly buy them a copy of One Hundred Years of Solitude. I can’t help it.
5. What’s one fact someone would never guess about you?
I used to work as a highly-paid program manager and left it to work at a French pastry shop and focus on theatre. It was the best year of my life and certainly my favorite job I’ve ever had.
6. What are some of your favorite plays?
Love and Information – Every Brilliant Thing – Shakespeare
7. Any new projects you’re working on or shameless plugs?
I’m beginning a theatre collective here in Orlando. Our mission? Make work we are passionate about. That’s it. Wish me luck, stay tuned for upcoming events; also, a name, which we currently don’t have.