What’s the central premise of your show? Pinky Promise tackles three main themes: family, resilience and memory. I wanted to explore the idea that childhood defines who we are. If so, is it possible to get away from that? What do we have to do to reinvent ourselves and how do we manage to reinvent our relationships through time?
Is your show based on your true-life experiences? Pinky Promise is the most intimate story I’ve ever told. Some bits are fiction or magnified to fit a theatrical narrative, but the central story is based on my life. When I finished the first draft, I asked my sister for permission to tell our story. She said that this story might help others feel they’re not alone in this. And now we’re at Fringe.
How long did it take you to craft it? I wrote the first draft two days before the Fringe’s application deadline, and just finished the final version two weeks before the show, so it’s been a crazy six-month journey.
Who/what are your biggest influences? Wes Anderson’s dysfunctional family themes and nostalgia about a life that is not anymore; Ingmar Bergman’s blurred reality/dream and incisive characters; Jenny Kemps’ surreal narrative and research line about memory.
What do you love about performing? I love that something so fleeting like a performance you’ll only see once can move you for many years to come. Now in the role of a writer/director, I’m just as amazed by how Holly and Emily (my cast) give life to this story in the most beautiful way.