The Knockturnal: What inspired you to write The Maid and The Mesmerizer?
Patricia Lynn: So it actually came from a bad dream. I had a nightmare about it when I was sick about four years ago. And that got me interested in hypnosis. And so I started doing some research into that, and learned a lot about it that I didn’t know. And that kind of inspired this idea of a relationship that evolves between a hypnotist and a woman.
The Knockturnal: That’s really interesting. Could you talk about your revision process for the play?
Patricia Lynn: Yeah, so like I said, I got this idea, like four years ago. So I’ve been working on it with this team of artists for about two years. Now. So actually, last year, we did a couple of invited performances. So we didn’t sell tickets, we had friends come in and watch the show that same year and then listened to their feedback about what was working about the play and what needed more work. Then I went away and rewrote for a few months. And then we started working on it again in the fall and then got to the script that’s being performed right now.
The Knockturnal: Oh, that’s really interesting. I know that the play was inspired by the Brontë sisters. Could you talk a little bit about the relevance of the Brontë sisters within the plot?
Patricia Lynn: Sure, yeah. So, I love gothic fiction. So I grew up on specifically Charlotte Bronte and Emily Bronte and, Weathering Heights. That was actually one of the books that I loved and hated at the same time because I think that the relationship between Cathy and Heathcliff has a lot of a lot of not-so-great attributes. So I was interested in developing a relationship that kind of hearkens to that where you, you root for this couple at some points, but at other points, your question was “What’s happening?” You’re concerned about control. You’re concerned about love. You’re wondering “What’s happening between them?” That’s kind of what I experienced when I read some of the Bronte sisters’ books. So I love them and I hate them at the same time. And so I kind of wanted to create a relationship that mimics that as well.
The Knockturnal: Okay. I know that the play is being performed at the A.R.T./New York Theatres. Could you talk about the process of getting that set up?
Patricia Lynn: I’m a member of A.R.T./New York Theatres, which is a wonderful organization. If you don’t know about them, I highly encourage you to look them up. With memberships come certain benefits, such as rehearsal spaces, access to certain grants, and that sort of thing. You can apply for subsidies and performance spaces at the theatre. There’s an application process that you have to go through. We went through that process. We’ve worked with A.R.T./New York Theatres previously. Luckily, we were accepted with this.
The Knockturnal: Oh, okay. Could you talk about the casting choices for both characters?
Patricia Lynn: We did have other people read for the Maid for a while, and then I started as an actor. So, I’ve sometimes stepped into roles and that kind of when hearing different voices and different couples, we kind of figured out that Patrick and I were the right fit. Patrick and I have worked together for many years. So, we have that connection. And we have that trust already, which helped tremendously. In a show where there is a lot of intimacy, there are a lot of difficult conversations. So having two actors who trust each other was kind of pivotal for us as a production team. And then Patrick also teaches character masks and neutral masks at a couple at NYU and circles the square. So he was bringing in some of his training as a teacher and applying that to how we evolved hypnotism because, in some ways, he describes his work sometimes as he’s helping young actors go into a trance-like state when they put on a mask. So that was exciting to kind of combine different worlds.
The Knockturnal: Wow, interesting. Can you talk about the decisions for the costumes? I found the Maid’s costume particularly interesting.
Patricia Lynn: Yeah. we didn’t want the stereotypical maid kind of vibe, which was what a lot of people could expect from that character. So, we kind of went in a direction of like, showgirl, of vaudeville, like looking at late 19th century silhouettes. So kind of the dress…She has that high low waist that you find with a lot of girls and a lot of open magicians’ assistants that you would see in more than the 18th century where it is and was called Mesmerism, in the late 19th century, which is kind of where he’s pulling that word to create this character, the Great Mesmerizeer. So, we found a dress that had that silhouette and then clicked the little embellishments to make it a maid’s outfit. So that’s how her kind of look evolved. And then for him, it was kind of going for straight 19th century Dolman, somewhat magician with the tails, but also having modern elements as someone who used to be a therapist. And who did hypnotism in that not necessarily a performer? So, having certain elements like maybe the shirt he just found in his closet, but he spent money on the vest…We get that feeling of seeing the elements of the showman of the show, but we also see reality a little bit. And then, as the play evolves, obviously those books shed away when we see you know them more in current 21st-century clothing as we start to get to know them more and see who they are outside of their characters in his hypnotism show.
The Knockturnal: Wow, I find that symbolism interesting. So, could you talk about the lighting choices that happened each time your character was put into a trance?
Patricia Lynn: Yeah, so we wanted it to have theatrical elements when the hidden punches were happening. So, it was very much set on Patrick snapping his fingers. And we wanted some lighting shift to happen. I think the director [Jenn Susi] described it, specifically in the longer one that we do privately in the hotel room, as that she wanted us to feel like we’re inmates along with her. So, the light shift helps focus things on her. And then sometimes sound would come in to suggest the moors or snow or things like that. This helped audiences feel what she might be feeling. She’s going deeper and deeper into a trance.
The Knockturnal: I don’t have any more questions, but it was a pleasure speaking with you today. Is there anything else you want to talk about?
Patricia Lynn: I think you covered everything. Thank you so much for taking the time to interview me today.
The Knockturnal: Have a great day!
Patricia Lynn: You too!
